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☆見開き紙ジャケット仕様 ☆SHM-CD仕様 ☆限定グッズ封入(アートワークポスター、オリジナルコースター、オリジナルICカードステッカー) ☆ボーナス・トラック1曲追加収録

メディア掲載レビューほか

デビュー45周年(2014年時)を迎えたロック・バンド、イエスの3年ぶり(同)となる通算21枚目のオリジナル・スタジオ・アルバム。オリジナル・ヴォーカリストのジョン・アンダーソンに酷似した歌声を備えたシンガー、ジョン・デイヴィソンをフィーチュアした新生「イエス」の第一弾。誇り高き血統が脈々と流れるプログレッシヴ・ロックの王道とも言うべきサウンドを堪能できる1枚。 (C)RS

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製品サイズ ‏ : ‎ 14.2 x 1 x 12.5 cm; 100 g
メーカー ‏ : ‎ マーキー・インコーポレイティドビクター
EAN ‏ : ‎ 4527516014124
時間 ‏ : ‎ 56 分
レーベル ‏ : ‎ マーキー・インコーポレイティドビクター
ASIN ‏ : ‎ B00JWX89PE
ディスク枚数 ‏ : ‎ 1

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レビューのソート基準

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。

HF

特典類一切付属無し

2023年6月21日に日本でレビュー済み

Amazonで購入

作品の内容に全く関係ありませんが・・・。廃盤のため定価よりはるかに高い価格で購入しました。帯は付かない可能性有りと表記されていたのでそれは納得できるが、それ以外の初回購入特典は一切付属していませんでした。初回盤を選んだ意味全く無しでガッカリ。説明不足では？

1人のお客様がこれが役に立ったと考えています

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double vision3

トレイがこなごな

2021年9月11日に日本でレビュー済み

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マーケットプレイス可の商品。裏面の大きなしわは我慢するとして、問題はCDトレイがこなごなである事です。交換または返品してもよろしいでしょうか？それともこれも可の範囲内なのでしょうか？

2人のお客様がこれが役に立ったと考えています

役に立った

「イエスを守りぬいた男」がイエスとして残した遺作。。。

2016年12月1日に日本でレビュー済み

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2016年11月。スクワイヤ逝去後初の日本公演。デイヴィッソンのライブを初めて聴いてこれは決して悪くないなと思い、2年遅れですが本作を購入しました。ホーンがメインボーカルをとった「ドラマ」のときアンダーソン似という評価が出ましたが、当時イエスのコピーアマチュアバンドでベースを弾いていた自分には、ホーンの上手さは認めるものの、そのライトさ、ポップ過ぎさ、思想感の乏しさ等から、アンダーソンとは全く別次元に思えました、バンド仲間も皆異口同音でした。それが現在の担い手デイヴィッソンは声質もたしかにアンダーソンに幾分かは近いですし、何よりハート、スピリチュアル的にイエスにフィットできている印象を覚えたのです。アンダーソンの哲学性、カリスマ性には遠くおよばないにしても。

で、本作はデイヴィッソンが作詩作曲に絡んだ作品がほとんどであって、収録前に彼に一定の権限が与えられていたことが歴然です。声質もですがそれぞれの曲調にも純粋さ清廉さが表面に押し出された魅力があり、大曲こそないですしプログレ的前衛的感覚の発現は若干抑え目ながら、この作成メンバーにしてはバグルス的テクノポップ感覚も控えてあり、現在の老熟したイエスのアルバムとして納得できる聴き応え感を覚えました。本作はイエスやプログレ本来の母国、英国でチャート20位にまで上ったということです。プログレ王国、英国ではAOR色を前面に出したいわゆるウェストイエス期の「90125（ロンリーハート）」が米国で1位になってもほとんど相手にされずに16位どまりだった史実を考えますと、本作には一定の評価が与えられたのかなと理解できるきがします。

本作はしかし、デイヴィッソンのボーカルが比較的華やかに焦点を当てられているのに対して（イエスの新メンバー入替時では珍しいことです）、大御所「哲人」ハウは、自由度が低そうに、少々退屈そうに窮屈そうに（？）そこそこにギターを泣かせているにとどまります。ハウが2016年来日前に本作はいまいちだったように自嘲ぎみに語ったことと合致しますし、基本ハウがしきったとおもわれる2016ワールドツアーで本作から演奏がなかった（ようである）こととも符合します。個人的には東京公演でも1曲くらいはこのなかからライブで聴きたかったですが。

なお本作は「イエス史」「プログレ史」のなかで特別な意義をもった1枚であることは間違いがないものとおもいます。
イエス結成時からの唯一不変のオリジナルメンバーであったスクワイヤの遺作となったわけですので。。。
スクワイヤのベースもハウのギターと同様、本作では控えめに「そこそこ踊っている」にすぎません。
しかしどこか晩年の落ち着いた、悟りの境地に達したごとき心が澄み切ったような、ゆったりした演奏で、聴きごこちは決して悪くないです。

ですので特別な1枚、なのだとおもいます。イエスを半世紀近く聴いていながらアンダーソン最終脱退後の音の入手はつい敬遠していた自分は本作をきかせていただき、40年以上も前にスクワイヤのベースのコピーをしていたこともありまして、「イエスを守りぬいた男」の一徹した音楽人人生に想いをはせつつ、なんともしみじみとした感慨深い気持ちになりました。自分は「テールズ（海洋地形学）」に５つ、「90125」に３つ、「ドラマ」に４つつけたのですが、本作は星４つをつけさせていただきたいとおもいます。心より、ご冥福をお祈りいたします。

23人のお客様がこれが役に立ったと考えています

役に立った

茶兄

よーく聴けば紛れもなくYESの音

2014年7月28日に日本でレビュー済み

Amazonで購入

新作を一聴して。

"Going for the One"のイントロを聴いてずっコケた時のことを思い出しました（笑）。あの時は「なんじゃこりゃ」とかなりの衝撃を受けました。それでも今になれば「究極」は最もYESらしい代表作の1枚。

結局YESというバンドは，たくさんの構成メンバーが離合集散を繰り返し，その時その時のメンツで，その時その時の自分達の音を紡ぐ，すごく多面的なバンドなんですね。それを前提にすれば今回の新作も，紛れもなくYESの音だと思いますよ。

今回のアルバム，大曲や組曲はなく，曲は全体的に短い目。曲調も明るく軽い目のリラックスしたものが多いように感じます。雰囲気的には「トーマト」や「ビッグ・ジェネレイター」に近いかな。

ただ，よーく聴けば単純なパターンの繰り返しだけでできている曲はなく，目立たないところでかなり面白い，複雑なことをやってます。音的にも，ソリッドなベース，タイトなドラム，独創的としか表現のしようのないギター，キーボードは無難なプレイですが余計なことをせず全体をよくまとめてますし，ボーカルはジョン（アンダーソン）にクリソツ．．．いや，やっぱりYES以外の何物でもありませんよ。

個人的にはラスト曲（ボーナストラック除く）の"Subway Walls"が最もプログレらしく感じます。この曲が9分と一番長いしね。

明るく屈託ない和声からふっと陽が陰るように悲しげな和音になり，そしてそれがまた自然に明るい調子に戻る。それに哲学的な歌詞。中間部の奇数拍子のポリリズム。胃が痛くなるような緊張感はないけど，こんな曲をやるのはやっぱりYESでしょ（笑）。

アルバムを通して聴いて，「傑作」とまでは言えないかもしれないけど，YESらしさは随所に感じることができ，十分「佳作」とは呼べると思います。ラスト曲だけでも聴く価値はあるんじゃないかな。

11月のライブが今から楽しみです。

25人のお客様がこれが役に立ったと考えています

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佐々木　岩手県

やはりJon Anderson

2014年11月8日に日本でレビュー済み

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Yesの構成メンバーはJon Andersonだけではないが、わたしにとってYesにはやはり
Jon Andersonが必要。

Jon AndersonがいないFly From HereはThe Ladderからのつながりを感じ、ボーカル
の声が違っていても気にならず好きだった。

Jon Davison加入のこのアルバムを大いに期待して聴いたらJon Andersonに似ている。
けれどアルバムが自分に刷り込まれているYesではない。

改めてFly From Hereを聞いてみたらFly From Hereの声が気になりだした。
Jon AndersonがYesで歌えないならせめてFly From HereをJon Devisonで聴きたくなった。

Yesの変遷を理解しつつ私にとってYesは
Chris Squire、Steve Howe、Alan White、時々Rick Wakeman そしてJon Andersonかな。

このアルバムの発表を機にJon Andersonのソロアルバムを買いあさった。

Chris Squire、Steve Howe、Alan White、時々Rick Wakeman の演奏ではないけれど、
Jon Andersonのソロアルバムは最近のものも含めて全てのアルバムがYesに聞こえてしまう。

ヘヴン&アースはゆっくり刷り込んでいくつもりです。

その後Japan toursに行った｡このアルバムから２曲演奏されたがThe Gameはライブの方が
よかった｡そんなわけでこのCDをちょっと聞きながら刷り込んでいる最中です｡

5人のお客様がこれが役に立ったと考えています

役に立った

Eclipse1228

プログレ色の薄いポップなアルバム

2014年7月15日に日本でレビュー済み

Amazonで購入

『ヘヴン＆アース』は、2014年7月に発表されたイエスの21枚目のオリジナルアルバムだ。ジョン・アンダーソンが参加していないオリジナルアルバムとしては、1980年の『ドラマ』、2011年の『フライ・フロム・ヒア』に続いて3作目となる。

メンバーは、クリス・スクワイア（ベース）、スティーヴ・ハウ（ギター）、アラン・ホワイト（ドラムス）、ジェフ・ダウンズ（キーボード）、ジョン・デイヴィソン（ヴォーカル）。ミックスは元メンバーのビリー・シャーウッド。

イエスは『フライ・フロム・ヒア』を発表後、2012年のオーストラリア／ニュージーランド／日本ツアーを前に、ヴォーカリストのベノワ・デイヴィッドが呼吸不全のため脱退。後任のヴォーカリストとして、グラス・ハマーのジョン・デイヴィソンが加入する。

新しいライナップで、2014年1月〜3月までロサンゼルスのネプチューン・スタジオで新作のレコーディングが行われた。プロデューサーはクイーン『オペラ座の夜』で知られるロイ・トーマス・ベイカー。

実はロイ・トーマス・ベイカーがイエスのプロデュースをするのは2回目となる。『トーマト』発表後の1979年に、パリでレコーディングをしているが、このセッションは失敗に終わりアルバムにはならなかった（『ドラマ』のボーナス・トラックで4曲を聴くことができる）。

全8曲のうち7曲のソングライティングに新加入のジョン・デイヴィソンが関わっている。その仕事ぶりをクリス・スクワイアは「Pretty Good job」、スティーヴ・ハウは「Really excellent」と評している。

一聴した印象は、とにかく良くも悪くもピースフルでポップだということ。メロディーが親しみやすく、アレンジもよく練られている。しかし70年代の『こわれもの』や『危機』が持っていたような緊迫感やスリリングさがまったくないので、プログレを期待して聴くと肩透かしを食らわされそうだ。

思えばイエスはプログレッシブ・ロックと呼ばれるバンドのなかでも、一貫して「ポップ」であり続けた。その意味では本作もイエスのヴァリアントのひとつなのかもしれない。イエスはこうでなければならないという固定観念なしに聴いていただきたい。

40人のお客様がこれが役に立ったと考えています

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SpirituallyUplifting

「イエス、４５年の長い道のり」

2014年7月22日に日本でレビュー済み

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イエス、デビュー４５年アニヴァーサリーのアルバムということで、個人的には３０年以上聴いているので
あまり否定的なことは言いたくありませんが、イエスと言うブランドを抜きにすれば良く出来た作品という
印象ですね。ベテランミュージシャンの創った燻し銀の音とでも言うか、安定感のある演奏と曲です。
往年のイエスの音を期待はしていませんが、前作「Fly from Here 」がかなり良かったので正直やや期待はずれ
なところはあります。
それぞれの曲は良く出来ていてイエスらしいフレーズが垣間見られる曲もあります。
１〜２回聴いただけでは判断できない曲が多く聴くたびに良くなるというタイプのアルバムだと思います。
プログレという分野ではないということを前提に聴いて欲しい作品です。

9人のお客様がこれが役に立ったと考えています

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新田貴紀

紛れもなくYESだね。

2014年7月31日に日本でレビュー済み

Amazonで購入

紛れもなくYESだね。
やっぱりYESらしさらクリススクワイアがしっかり握っているということが、あらためてこの新作で示されていたよ。
俺は新ヴォーカリストのジョンデイヴィソンをジョンアンダーソンに似ているとは全く思わないんだよね。
ジョンアンダーソン系ではあるけど…

現在のYESの姿をしっかり示されたアルバム！
過去に囚われているYESファンを尻目に、これからも素晴らしい音楽をまだまだ聴かせてくれる期待感をもたせてくるた。
リアルイエスファンなら必聴だよ！

11人のお客様がこれが役に立ったと考えています

役に立った

他の国からのトップレビュー

すべてのレビューを日本語に翻訳

harmono

No gimmicks, just Yes music.

2014年7月23日にアメリカ合衆国でレビュー済み

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"The sum is greater than all the parts combined." This has been said about Yes's music, and I'm finding that this is the case when listening to the new Yes album Heaven and Earth.
This review is a bit lengthy due to the complicated history of Yes, to get to the actual review track by track scroll down until you see this ****

Yes have been in a tight spot commercially probably since they released the Union album. This has caused mixed reviews, and poor reception for many really good Yes albums since then. Yes has an identity crisis. People can't just listen to Yes for what the music really is, but instead have really high expectations, because there are so many aspects to past Yes albums to compare to. We have the frantic Jazz fusion style of Relayer, the more mellow spacey mellotron soaked sounds of Close to the Edge, and then there is this entirely new Yes that started in 1983 with Trevor Rabin as almost the band leader instead of a replacement guitarist. Starting with the Union album each project has had a different lineup, with different circumstances. Any album that is missing a member of the classic lineup from '73 will be highly scrutinized by Yes fans, and critics. But generally from 1971's The Yes Album to 1980's Drama, the sound of Yes remained the same, with intense playing, strong harmonic vocals, an angelic sounding lead singer, and epic arrangements which so many Yes fans love. But then Jon Anderson joined this project called Cinema with Trevor Rabin, it made the band name change Yes by default while breaking new sonic ground both in the pop genre, and the prog rock genre.

It was a totally new Yes sound, more shred oriented, or arena rock oriented, but with pop sensibility. Many Yes fans hated this new sound. I was happy to see Yes still making albums, and I found myself eventually becoming a fan of the new Yes. They were still technically very good, and still quite different from anything else out there. They were still really Yes, most of the time. But later another project happened on the side with Jon Anderson,Bill Bruford, Rick Wakeman and Steve Howe. Suddenly there were two Yes bands. The A.B.W.H. sound still had this pop sensibility, but sounded much more like the earlier lineup, because of the styles of Wakeman on keyboards, and Howe on guitar. Howe brought some of the pop sensibility from his days with Asia, and later with GTR. The results were fantastic, and it made of for the gap in Yes albums from 1983 to 1987.

Then the confusion began with the Union lineup. A combined ABWH and Trevor Rabin Yes project released the Union album. The album apparently was partially recorded by individual musicians sending tapes in, and additional studio musicians. It turned out to sound too obviouly pop oriented in places, and the songs didn't seem to go together well. The better songs seemed to be from the Trevor Rabin lineup, and the Billy Sherwood contributions. Billy Sherwood then added his own kind of Yes sound in the Open Your Eyes album in 1997, and the Ladder in 1999. These changes in sound, added up to people not knowing what to expect when a Yes album is released. But in actuality the Yes sound remained a mix of hard rock, pop, and prog rock the whole time. Yes were trying to make hit singles, but this posed a problem because the Yes fans would lambast the albums, and the albums were not technically as impressive as the earlier stuff, and not really hard core prog rock anymore.

Now add to that, Jon Anderson leaves Yes, and Yes after 10 years of no albums go into the red to release the Fly From Here album, and now with a singer that sounds very close to Jon vocally the Heaven and Earth album.
They were already having this post-Union identity crisis, and Yes was showing with the Drama, and Fly From Here albums that Yes without Jon Anderson was a hard sell.

So what could Yes do? They could make an instrumentally heavy album that makes up for the lack of Jon. They could utilize the new Jon and make a retro Yes sounding album. Or they could do what they did with the Ladder which was to combine the old and the new, which had dazzling results.

****

They didn't really attempt to make an instrumentally heavy album, and I'm not surprised. They did sort of combine the old with the new, but more from a tried and true approach rather than a retro approach like parts of the Ladder. They didn't really shoot for up tempo pop songs like 'Open Your Eyes', or 'Don't Go' from the Magnification album. Instead they just came up with 8 mostly mid-tempo songs, and focused on melody, and tried and true approaches to Yes arrangements. The songs are accessible, but not obviously pop sounding like 'Shock to the System' from the Union album.

The first track 'Believe Again' is very catchy, with a repeating motif that clearly was a Howe contribution. He uses the volume pedal to introduce this motif which sounds like something from his Remedy album. On the solo he uses the same motif to start the solo, but with no volume pedal, and slight distortion.
Throughout the album, I don't really find many new guitar ideas introduced, but some of the guitar ideas are new to a Yes album. Overall it seems conservative, and restrained somewhat.
'Believe Again' has some really great uplifting, positive lyrics that you would expect from Yes. I found that with Jon Davison's singing he sounds better when he sings a phrase that includes higher notes, than when he sings lower notes. Singing is a dramatic thing. Singing lower notes is difficult because you don't have much room to express yourself. Jon Anderson seems to be able to put stress into the lower notes, but when he sings higher notes, it's always clear, and you take it for granted, unless it's a louder song.
But with Jon Davison his higher notes seem to be more dramatic than Anderson, and his lower notes are sung well, but not as much dramatic impact. Other than that, although I prefer Jon Anderson's singing overall, he does an excellent job of expressing the lyrics, and singing overall. I was getting tired of hearing Jon Anderson's globalist left leaning, new age lyrics which seemed preachy at times. Jon Davison reflects the earlier lyric style of Yes, but something he genuinely feels, and believes in. That is a fine line to walk, and we are fortunate to have someone like Jon Davison singing for Yes. When Trevor Horn sang, it was so different from Jon that it sounded true to what Trevor wanted to sing, but it lyrically was somewhat dated, and vocally was not exceptional for the most part. Davison really knocks it out of the park.
To be honest, the next couple tracks I found to be an acquired taste that I still am acquiring. The first track was mid-tempo, and it's one mid-tempo track after another. Alan White's drumming style seems to have moved in a more adult pop direction with a more jazzy swingy sound, and even some vibes, and bongo drums in there. But 'The Game' is still pretty catchy. It just doesn't have the syncopation that I would expect, and the piano sounds seem to be layered in a way that kind of disorients me. (Upon later listens, I found the culprit. There was a patch that had a ring modulator sound that was distracting in the intro.) It almost sounds out of tune. It's not a disaster, but it's just a bump in the road at first. I think what I'm missing is some rhythm guitar. But at any rate, it's just a slighly wierd arrangement. It seems a little softer than other Yes songs.
At any rate, it's another catchy song, that's not overtly using pop cliche's and gimmicks.
What I mean is that you could use anything as a gimmick to give the listener the impression that this is really hip, or a true prog rock album. It doesn't have these gimmicks that sort of all short that I find on many of the latter Yes albums. It just moves nicely, and it's very polite, not insulting your intelligence for the most part.
Probably the track that I'm most critical of it 'Step Beyond'. The lyrics I find are too pretentious, and repetitious. The rhyming almost sounds forced, and it has this cute Marillion like synth pattern almost throughout, which perhaps should have come in later instead of in the beginning. At first I wanted to skip the track which is rare for me, but I find it nicer the later you get into it. It's similar in feel to some of the tracks on the Magnification album. I would have to say it feels kind of corny, because it could have been slighly faster, and played more aggressive, and the lyrics wierd me out a little.
So far the album is delightful, with such a rare sound. Hardly any music out there that sounds like this, but we did have one bump in the road, and nothing so far really spectacular as far as technical playing, or something that jumps out at you. No Yes-gasm yet.
The albums is definitely my choice for hearing something relaxing. It would be great to listen to while on a nature walk, or in the park.
'To Ascend' really shows off a great melody, and some moving lyrics. It's a jewel of a track. But again it's mid-tempo, nothing really radical instrumentally. It's a Yes ballad of sorts. I like the vocal mix with Chris. I love hearing Steve Howe's old acoustic guitar sounds in this mix. Alan White throws in some rim tapping in there to keep the meter going. Nice string arrangement. It's really quality stuff. This is a new development with Yes these ballad type songs, and a side of Yes that I am happy to see appear. I think this is a timeless piece.
'In a World of Our Own' has some clever lyrics that has unexpected twists and turns. It's a bit of a jazzy shuffle in parts with vibes, and acoustic piano. Again it doesn't have too many gimmicks, it sounds appropriate, very mature. Howe just teases us with this jazzesque solo, playing these quick phrases. The lyrics make this song, it's not that much instrumentally. The melody is a bit mundane, but the lyrics, and the mood are memorable. They do kick into this part with organ stabs, but it Alan White just keeps playing this shuffle. It seems like Alan should have put some fills in there, to build it up. Howe's guitar solo really captures the mood, and puts the icing on the cake.
'Light of the Ages' is a very promising title for a song, so I was expecting something really special. It shas this intro with some syncopation, and tom rolls sort of like Pink Floyd, or maybe Rush. With the string arrangement, and with Howe's slide playing, it's very promising start. Chris does this run on the bass which sounds like something Jon Anderson would like to sing. Then it moves right into a mid-tempo song that has this strong melody, and again promising lyrics. This song has lots of twists and turns, changes in key, tempo,and instrumentation just like this hard core '70's prog. But the melody is different, and the way it's arrange sounds different. This is where I think the sum is greater than the parts combined. It's like Yes with Eddy Offord, it's just rich with so many textures, and chords. You might find the vocals to be a little squeaky sounding compared to Anderson here. Just really nice, and worth listening to over and over. Jon Davison seems to like to rhyme more solidly than Jon Anderson. I kind of wish this song would be longer, and go somewhere, it builds up into something, but ends. They could have done something with this.
'It Was All We Knew' is a more up tempo, but still kind of a 'Margaritaville' Yes thing. This reminds me of the group America in parts, and also the Association. It's a la la la song. Light hearted song. Steve puts some dual guitars in there with this repeating motive. This song does have a part that jumps out at you. Howe's more later guitar approach is not very hard edged, not really distorted, usually I don't like that, but maybe that would be more appropriate for this song. Well it's kind of a dreamy song, nothing like the previous song, just whimsical. It's kind of repetitious, so I might get tired of this one after awhile, but it's short, and sweet.
'Subway Walls' is probably the most challenging song to listen to from the sense that the song is more constructed tightly with a string intro by Geoff Downes who co wrote the song with Jon Davison. I keep forgetting that this lineup is 4/5ths of the Drama lineup, which I really liked. This one does sound more like the Drama sound with the minor chord string intro. The playing gets more technical on it, much like Drama's 'Does it Really Happen' track. It's full of surprises, and this is the one track that does have sounds, and techniques, and an arrangement that is something that I really haven't heard from Yes before.
It's not over the top frantic jazz fusion playing like 'Sound Chaser', but it's edgy, and shows how strong Yes are both instrumentally, vocally, and in the song writing/arrangements. The lyrics ask some questions that are worth asking, and this goes good with the rest of the songs subject material. This one would be fun to see Yes play live. I hope they play this one live. It's got a burning Hammond solo from Geoff Downes along to this tricky odd beat, then Steve Howe proceeds to rip a solo with his classic repeating runs approach on a distorted guitar.
In summary this album should be very friendly to prog rock ears, but some of the songs are accessible, and it's not too heavy. It's a heart warming album and a breath of fresh air from those Yes albums that seemed too preachy in parts, and too gimmicky. The vocal balanced nicely by Billy Sherwood. With the exception of one track, the overall sound is not flawed as far as I can tell. There are many other prog rock bands out there putting out great stuff, even recently, but there is nothing quite like this album out there. It's a unique, purposeful, refreshing gem of an album. It could have been a little more edgy, and instrumentally technical, and I sort of mis Jon Anderson's singing on it, but that doesn't prevent it from being a very enjoyable recording that I will enjoy for years to come. I think it has more depth than many a Yes albums, it's a grown up Yes sound.

21人のお客様がこれが役に立ったと考えています

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Kevin Caffrey

Surprisingly Good

2014年7月22日にアメリカ合衆国でレビュー済み

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I wrote three years ago that while I thought Fly From Here was a solid album, its creation and execution was due in large part to one of the great producers of the last quarter century, Trevor Horn, running the project. With Horn not committing to the band beyond that, I ended that review thinking - where does Yes go from here? Well, within six months of the release of that album, Benoit David was out as the lead singer and replaced with Glass Hammer's Jon Davison. They have toured consistently these past few years - embarking on some successful "album" tours and cruises where they are performing some of their classic albums in their entirety. Many questioned if a new Yes album would come from this lineup. Interviews with Howe from the last couple of years seemed to indicate he was not necessarily in favor of doing a new album, whereas Squire seemed more intent on releasing new material as he has over the years always been (along with Jon Anderson when he was in the band) the most vocal member of the group in terms of wanting to do new material and not just become a "nostalgia" act. So about two and half years after Jon Davison taking over the reins as Yes' 4th lead singer, we get _Heaven & Earth_.

Opening track "Believe Again" is really good. After a few listens, one comes to appreciate the fact that this is a song with a clear direction and structure. Like a lot of material on this album, it reminds me of the studio material that was presented on Keystudio but with a less stilted feel to everything. Really nice harmonies and vocals from Davison & Squire - and the ending is a nice nod to the majestic endings of Yes' more ethereal pieces like "Awaken" and "Hearts." "The Game" seems to have come from Squire and has a "Days of Wonder" from Conspiracy - Live Cd+Dvd vibe to it. Thankfully Howe brings out a better electric guitar tone on "The Game" than he employs during the middle section of "Believe Again" so the energy is raised a bit during this one. The song also goes through some nice changes throughout, with the "I'm standing at your door/with all my defenses down" being one of the most memorable on the whole album as its one of the few moments that seems to rise above and put forth a sense of conviction and urgency. If only there were more moments like this very brief one on the album. Jon Davison sounds very good throughout the album. If he's the new singer of Yes then we have to take a moment and compare him to Jon Anderson. Huge shoes to fill and Davison does an admirable if less than inspired job. Anderson's voice has a depth and personality that Davison does not display here. *Every* thing he sings is pretty light, whereas for as twee as Jon Anderson could be some times, he could also belt it out with the best of them--from "Gates of Delirium" to "City of Love" to "State of Play" all the way up to "Spirit of Survival" on Yes' last album with him, Magnification . Davison never really goes beyond his airy delivery. It's interesting in that it seems clear that Davison is a stronger singer live than Benoit David, but I have to admit that I think Benoit David did a better job on _Fly From Here_. None of the tracks on the album are credited to the full band. Instead, Davison is the writer on most of them paired along with one other member. As the album wears on, there's very much an "emperor has no clothes" feeling to some of the lyrics. There's just not much meat on the bones of the more "mystical" lyrical passages, and when more traditional lines pop up, they tend to be a bit embarrassing/forced. Nearly all the songs are very melodic and poppy, but in a much more natural way thankfully than when Yes released similar material like Open Your Eyes . On the flip side however, there are some other moments that recall that disastrous album, and they surprisingly come from Howe. Howe's main contribution to Fly From Here was the lovely "Hour of Need," but his contributions here --"Step Beyond" and "It Was All We Knew"--are probably the weakest ones on the album. They come across as demos he brought to the band to turn into Yes songs but they never really cross that line and instead sound stuck in the middle of being a demo and a full-fledged Yes song, so they can't help but feel disappointing--some good ideas not developed well, and some bad ideas not edited out. I'm a huge Steve Howe fan--hands down, my favorite guitarist of all time--but there are only so many times you can hear him do the same staccato guitar runs without getting a little bored of them. White and Davison wrote "To Ascend" and this one really caught me off guard. At first I thought it was pretty basic and pleasant, but it's quite beautiful and understated for Yes and it serves them well. Reminds me of The Beatles in a way, and it's nice to hear 45+ years later Yes still reflecting some of their biggest influences. Strangely enough, "In a World of our Own" sounds like a lost Jon Anderson solo song from the 90s, or at least a song that would've felt at home on The Ladder . Reminds me of Todd Rundgren or Supertramp a little bit. Maybe the most "refreshing" song on the album - doesn't overstay its welcome and has some personality to it that steps outside of Yes' comfort zone a little bit. "Light of the Ages" goes right back into that comfort zone to snooze-inducing effect. The first minute hints at something grand to come, but nothing really happens in this near eight minute long song, the only song credited to Davison alone. Downes adds his pleasant piano, Howe adds his pedal steel, but this is pretty forgettable stuff. Even the harmonies, while well recorded, are pretty boring. The beginning also has that 80s/90s Yes AOR/prog vibe to it, but the guitar seems so buried in the mix that what could've been a more powerful moment is lost. Whereas a song like "Believe Again" sounds like the Keystudio material done right, "Light of the Ages" reminds me of the weaker material from that time period indicative of a sound where each individual member is just "adding their parts" as opposed to actually hunkering down and working on a song to make it sound a little more cohesive. Downes takes the reins on Subway Walls. Pre-album buzz seemed to highlight this song as the best cut on the album. The beginning is typical grandiose Downes keys with sound pastiches that have never before really been found on a Yes album. Downes knows how to set up a mood, and for the first time on the album something suspenseful musically is introduced. The entire track is really a showcase for Downes and more of a jam than a song as the lyrics and melody, again, are not really anything noteworthy. In fact, the chorus doesn't do the music any justice and a cynic could argue by this point, you're really missing Jon Anderson and Jon Davison has overstayed his welcome. That said, there is some really good playing from Howe on this one and if you're a Yes fan who needs their fill of typical "prog" -- this is probably the only song on the album that will give it to you. The ending of "Subway Walls" will remind hardcore Asia fans of "Aria" - it is VERY similar. Take that for what it is - the ending of a Yes album sounds like a retread of the end of Asia's 1994 album Aria !

If we're honest with ourselves as fans, all of Yes' new albums since _Talk_ would rank in the bottom quarter of their catalog. Some (_Magnification_ and _Fly From Here_) much stronger as overall, cohesive albums than others (_The Ladder_ and _Keys 1 & 2_) with one out-and-out undeniable dud (_Open Your Eyes_). No one is going to claim H&E is as good as Fragile or Going for the One or 90125, but a lot of it is very enjoyable and even the lesser material is perhaps not as offensively bad as say a song like "Man in the Moon." If this summary seems less than glowing it's because I guess that is the album in a nutshell - some good moments, some not very good, and a lot of right down the middle pleasantness. I'd give it TWO AND A HALF STARS if I could. The high points, unfortunately, are all too fleeting. If _Fly From Here_ had one thing going for it, it was that there was a sense of urgency in the title track and a sense of joy in "Into the Storm." Sadly that urgency and joy didn't really carry over into _H&E_. _Fly From Here_ had its detractors, but it's a much better sounding album than _H&E_ -- Horn really did a good job on that one, with the title track being especially powerful. Listen to the two albums back to back and you can't help but feel _H&E_ is very limp in comparison. That said, there are enjoyable moments on this album--Squire & Davison's harmonies are really beautiful in spots, Howe does some tasteful work on the title track and some powerful runs on "The Game," and even Alan White shows some nice little subtle fills here and there. If you've liked their studio work since Talk, you will get your money's worth on this one. But if you've been waiting for a "return to form," this is not it. Only time will tell (see what I did there?) if Yes has added to their legacy with this album, but they do still show some signs of life. Recent interviews with Squire indicate something is being planned for 2015 with Jon Anderson, so it could very well be this album is merely a stopgap as Yes makes its way to its inevitable conclusion of getting Jon Anderson back in the fold for one last project together.

***I updated this review about a week after I had heard the album. It has grown on me since then and I changed it from 2 to 3 stars as I do think "Believe Again," "The Game," and "To Ascend" are really strong. "Step Beyond," "In a World of Our Own," and "Subway Walls" are OK to good. The only songs that don't really work for me are "It Was All We Knew" and "Light of the Ages," and even these two have some nice things about them. So, I think this album deserves a chance if you've liked Yes studio work of the last 20 years. If not, then proceed with caution!***

19人のお客様がこれが役に立ったと考えています

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H.Schwoch

Die unerhörte Leichtigkeit des Seins

2014年7月20日にドイツでレビュー済み

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Die Vorzeichen waren schlecht: Renommierte Fachmagazine dissten das neue Werk der Altprogger bereits Wochen, bevor wir Normalsterblichen es endlich in die Hände bekamen, der Albumtitel HEAVEN & EARTH ist einfach nur belanglos, und der ewig übel gelaunte Gitarrist Steve Howe äußerte sich in einem Interview u.a. wie folgt: 'Es war bei diesem Album alles wie immer: Einige wirklich gute Ideen wurden stumpf ignoriert, einige schwache Ideen dagegen berücksichtigt'. Ja, so ist das, wenn man a) im Team arbeiten muss und b) von sich selber glaubt, das größte menschliche Genie mindestens seit Albert Einstein zu sein. ;-)

Das ewige Personalkarussel hat sich seit FLY FROM HERE nur insofern gedreht, dass Leadsänger Benoit David aus mysteriösen Gründen geschasst und durch Jon Davison ersetzt wurde, der seit einigen Jahren bei den Yes-Epigonen Glass Hammer das Vokale besorgt.

FLY FROM HERE beruhte mit dem großartigen gleichnamigen Longtrack auf Kompositionen aus dem Jahre 1980, die teilweise schon damals live präsentiert und 2011 endlich zu einem großen Ganzen zusammengefügt wurden. HEAVEN & EARTH ist hingegen das erste Yes-Album seit 2001, auf dem ausschließlich neue Songs zu hören sind.

Das Vinyl-Album glänzt mit einem tollen Gatefold-Cover inklusive der Songtexte sowie zwei eisblauen 180-Gramm-LPs, die einen wunderbar transparenten Klang bieten und tatsächlich ohne einen einzigen Knacker auskommen. Auf jeder der vier LP-Seiten befinden sich gerade einmal zwei Songs. So soll es sein.

Jon Davison vereint in seinem Gesang die Eigenschaften der bisherigen Yes-Stimmen Jon Anderson (sehr dominant), Trevor Horn und Benoit David. Im Unterschied zu Letzterem profiliert er sich aber auch sehr stark als Songschreiber, war er doch an sieben von acht Titeln beteiligt.

Aber wie ist denn nun die Musik, denn auf die kommt's ja schließlich in erster Linie an?

Also, HEAVEN & EARTH atmet die Leichtigkeit des Sommers, jedoch ohne dabei allzu leichtgewichtig zu sein. Die Songs sind fast durchgehend fluffig, beschwingt und teilweise ein bisschen ätherisch. Diese Eigenschaften zeichneten die Band schon immer aus, schöpfte sie ihre Inspiration im Gegensatz zu ihren zutiefst 'englischen' Kollegen von Genesis doch stets auch von US-Westcoast-Bands wie Crosby, Stills & Nash, den Beach Boys oder gar The Fifth Dimension.

Wer ausschließlich lange, hoch komplexe Stücke wie auf TALES FROM TOPOGRAPHIC OCEANS oder RELAYER erwartet hatte (aber wer hat das schon wirklich, vierzig Jahre danach?!), der wird sich mit dieser Scheibe nicht wirklich anfreunden können.

Wer hingegen auf das helle, entspannte Feeling solcher Klassiker wie "I've Seen All Good People", "And You And I" oder meinetwegen auch "Wondrous Stories" abfährt, dem dürfte hier so manches gefallen. Und obwohl längst nicht alles dem einstmals errichteten Klanguniversum gerecht wird, so findet sich doch in jedem der acht Stücke etwas Typisches, Bemerkenswertes, Anrührendes. Vor allem Gitarrist Howe und Keyboarder Geoff Downes sorgen dabei für sehr verschiedene, sehr spezielle Momente.

Da ist der instrumentale Mittelteil des Eröffnungstracks "Believe Again" zum Beispiel, den man nach drei-, viermaligem Hören nicht mehr aus dem Kopf kriegt.

"To Ascend" ist ein akustisches Labsal mit ganz leichten melancholischen Tupfern und einem rätselhaft-verschwurbelten Text, der Jon Anderson alle Ehre gemacht hätte. Ohne Frage ein neuer Yes-Klassiker. Herrlich.

Oder das locker-flockige "In a World of Our Own", das mit seinem jazz-poppigen Einflüssen ein wenig an die genialen Steely Dan erinnert.

In dem eingängigen "It Was All We Knew" (tatsächlich geschrieben von Steve Howe!) glaubt man in den ersten Sekunden an ein Cover von David Essex' Superhit "Gonna Make You A Star" von 1974, ehe es dann doch in eine ganz andere Richtung driftet. Im Text geht es um die harte Anfangszeit der Band und den späteren Erfolg ab den frühen Siebzigern: 'Sweet were the fruits / Long were the summer days / It was all we knew'. Howes kurze, sanfte Licks sind wunderschön.

Der faszinierende, neunminütige Abschlusstrack "Subway Walls" glänzt durch mindestens drei verschiedene Songlinien, die schließlich doch zu einer Art von Einheit verschmelzen. Am Ende wünscht man sich, dass das Stück noch mindestens fünf Minuten länger wäre, wenn nicht gar zehn.

Als Produzent konnten Yes die mittlerweile 68-jährige Legende Roy Thomas Baker (Queen, The Cars) gewinnen, der seinen Job sehr gut erledigt hat. Der Klang ist (zumindest auf dem einzig passenden Medium Vinyl) wunderbar luftig, leicht und transparent. Besser als Queens musikalisches Meisterwerk A NIGHT AT THE OPERA klingt es jedenfalls allemal. ;-)

Inzwischen häufen sich die Gerüchte, dass die Yes-Altvorderen trotz aller öffentlich ausgetragener Animositäten tatsächlich überlegen, noch einmal wieder mit dem zickigen Tantchen Jon Anderson zusammen kommen zu wollen. Ja, geht's denn noch? Von einer tatsächlichen 'Wiedervereinigung' würde ich mir nach all den verbalen Querelen nicht allzu viel erwarten.

Hinzu kommt: HEAVEN & EARTH ist zwar zwar nun nicht unbedingt ein absoluter Geniestreich, gleichwohl fällt mir auf Anhieb mehr als ein halbes Dutzend aus diversen Gründen insgesamt schwächerer, zumindest aber nicht besserer Yes-Alben mit Jon Anderson ein (TORMATO, 90125, BIG GENERATOR, TALK, UNION, OPEN YOUR EYES, THE LADDER, MAGNIFICATION).

Also bitte, Squire/Howe/White, haltet jetzt zumindest für ein Weilchen (so ca. zehn Jahre?) zu Jon Davison, um euch mit ihm quasi noch einmal neu zu erfinden. HEAVEN & EARTH ist dabei ein recht guter Anfang, aber ich denke, da schlummert noch ganz viel mehr, wenn ihr erst zu einer wirklichen Einheit verschmolzen sein werdet.

PS: Das Cover-Artwork von Roger Dean mit seinen nordischen Pflanzen und dem pilzförmigen Eisberg im Hintergrund ist zwar sehr gelungen, passt aber nicht zum Albumtitel und auch nicht wirklich zu dem unbeschwert-sommerlichen Ambiente der Musik.

Update 06.09.2014:
HEAVEN & EARTH gehört nun seit zwei Monaten zu meinem Leben, und ich habe das Album immer mehr lieb gewonnen. Mittlerweile gibt es hier bei amazon 73 (!) zum Teil höchst divergente Rezensionen. Ist das nicht Klasse?

Und was höre ich doch heute Nachmittag um kurz nach halb vier, als ich das Autoradio einschalte? "It Was All We Knew" von Yes in der Sendung 'Corso' im Deutschlandfunk! Ich meine, wie lange habe ich schon keinen aktuellen Yessong mehr im Radio gehört? Fünfundzwanzig Jahre? Dreißig? Und was wollte ich eigentlich damit sagen? Ach so: Danke und schön war's, Yes mal wieder im deutschen Rundfunk zu erleben!! :-))

Weniger schön: Die Vinyl-LPs werden durchs Abspielen natürlich nicht besser und weisen inzwischen trotz sorgfältiger Behandlung einige Knackser und Unsauberkeiten bei der Wiedergabe auf. Das ging ungewöhnlich schnell, und woran es letztlich liegt, vermag ich leider nicht zu sagen.

10人のお客様がこれが役に立ったと考えています

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Thomas Neilson

Best Yes album in a long time

2014年7月25日にアメリカ合衆国でレビュー済み

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Heaven and Earth is, as others have noted, an unusual Yes album. It is quieter, less dynamic, and more song oriented than their other albums. Some of the music is close to AOR, but traditional elements of prog rock remain, including some unusual time signatures, challenging parts, and overall excellent musicianship—so I consider it prog, although a lighter version of the genre. It may be that as the members of Yes have aged, their appreciation of music that is softer and mellower has grown. If so, I can relate. Now in my mid-fifties, I listen to quieter, more mellow music than I did when I was 25. Over the years, I have enjoyed the forays of Yes members into new age music, particularly Steve Howe’s collaborations with Paul Sutin. I suspect that much of the negative reaction to Heaven and Earth has its roots in the tendency for virtuosic prog rock to be busy music, with everyone in the band playing something rhythmically and melodically complex—and different—all at once. This makes for exceptionally interesting and challenging music, but strengths can also be weaknesses. Busy prog rock often lacks space; in my opinion the idea that prog must involve constant or near-constant lines of complex music is a fallacy. I am reminded of French Impressionist Claude Debussy, who said: “Music is the space between the notes.” Sometimes prog would benefit from more space.

I am enjoying the mellow, quieter focus of Heaven and Earth. Contrary to the comments of some reviewers, aggressive and dynamic playing is not absent from the album. It simply plays a smaller part. Chris Squire’s muscular bass is present and impressive. Steve Howe’s eclectic guitar playing is there, and it is both aggressive at times and restrained at other times. Howe seems to be the rare rock guitarist who understands restraint, and so his style(s) fit easily into the album. Geoff Downes’ keyboards are lush, colorful, and inventive, and he co-wrote what I consider to be the strongest track on the album, “Subway Walls”. Some may criticize some of his older keyboard sounds, but I for one enjoy the keyboard sounds of the 80’s, as well as the more contemporary sounding samples he uses. Alan White remains the steady, reliable, and at times innovative timekeeper of the group. Alan does seem to have slowed down a bit, but of all the rock and roll instruments to be playing in one’s 60’s, he clearly has the most physically challenging of them. (I wish that I could have the stamina in my 60’s to play the drums for two and a half hours every night!). Newcomer Jon Davison brings a strong and committed voice to the proceedings, and his central role in the songwriting has contributed greatly to the quality of the album. Davison sounds just enough like Jon Anderson for the album to sound like Yes, but his voice and style have their own character, which makes him more than just an Anderson clone. Jon Davison’s energy and integrity as a performer have become a central aspect of this incarnation of Yes.

I must admit that my first reaction to the song Believe Again, when it was released weeks ahead of the album, wasn’t so enthusiastic. I didn’t like the song at first, and my initial reaction was that it would make a good Starcastle song. Not a compliment. However, as I’ve listened to the song with an open mind, it has grown on me and I thoroughly enjoy it now. My first reaction to many Yes songs has been like this; it often take several listens to wrap my mind around the song. I enjoy the unexpected melodic complexity of this song, and the contributions of all the band members.

The songs on Heaven and Earth are melodic, with hooks and themes that have stayed with me. Not all of the songs work as well as I would like, but most work quite well. “Subway Walls” and “Light of the Ages” are likely to become new Yes classics, and worth the cost of the album by themselves. “The Game” is an enjoyable and interesting AOR song, which I find more interesting than anything on 90125 except “Changes”. “To Ascend” is an engaging, lighter prog song that makes good use of Steve Howe’s 12 string guitar. “Believe Again” is a subtle and unconventional song that, as I said, has grown on me. While some have panned Jon Davison’s lyrics, I find them equal to the lyrics of most Yes songs, which have always aimed at the cosmic, but vary from the profound to the sometimes clichéd. “I am really coming to know the empty space; Beneath the surface of common days” from “Believe Again” is a truly profound line.

The album does suffer from less than optimal recording. Roy Thomas Baker’s approach to recording and production seems a poor match for Yes music. Billy Sherwood’s mixing of the album appears to have improved the situation, but the contrast between the recording quality of Heaven and Earth and the last album, Fly From Here, is striking. While the quality of the production is disappointing, some of Yes’ best albums have suffered from downright poor recording and production (e.g. Relayer).

To sum up, Heaven and Earth is a markedly different and richly musical Yes album. The music is melodic, sometimes downright gentle, and has a fresh feel to it. There is still virtuosic playing by the band, and this restrained, song-oriented approach works well on the album. The album isn’t perfect, and some of the songs could have benefitted from more development. I give the album four (out of five) stars. I’m grateful that Yes still exists and is capable of making such music in 2014. I am looking forward to seeing them again in Nashville in a few days.

13人のお客様がこれが役に立ったと考えています

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Ben Wheeler

Moments of magic - but lifeless production

2014年7月28日に英国でレビュー済み

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I have some shock news for some Yes fans - it may not be easy to take but here it is... It's not 1972. What's more it's not 1977 either. There's no point pining for Close to the Edge 2 or Going for the One (again). It's 2014. The band is not going to sound like it did in the 1970s, these are not guys in their 20's - with the exception of Jon Davison - they are all in their late 60's.

Personally, I would rather Yes create new music than continually live on past glories as a live act. I don't want to hear Siberian Khatru yet again - but I can accept that many fans do and ticket sales don't lie. So given that today's Yes is mainly a 1970s back catalogue touring act - the promise of new material is intriguing. You might wonder 'why bother' as new Yes material never seems to survive in a live set-list for more than one tour. Perhaps, as musicians they want to show that they can still cut it, haven't run out of ideas and are not, despite their live shows, a band stuck in a time warp. But is the new material any good?

The reviews of Heaven and Earth have been far more mixed than for Fly From Here which was generally well received - despite the re-cycling of Drama era material. Although only three years later, Heaven and Earth has a very different feel for two main reasons - the input of new vocalist Jon Davison who co-wrote almost every track and, the absence of Trevor Horn behind the desk - replaced by Roy Thomas Baker. So, let's discuss the songs, and then the production.

I won't go through every song - there are many other reviews that do that perfectly well. The key thing for me is, does this new album sound like a Yes album? Does it, even without Jon Anderson, capture the 'spirit of Yes'? It definitely does. There are standout tracks that are as worthy of the Yes name as anything they've produced before. Believe Again, To Ascend, Light of the Ages (written by Davison on his own) and Subway Walls will please the long-term Yes fan. There's a lot of Steve Howe - albeit sounding quite similar - but at least he's not lost in the mix. It's also good to hear Geoff Downes own keyboards rather than his rather awkward (and some would say `winged') interpretations of Rick Wakeman live. There are other songs that are lighter, `progressive easy listening' even but they are strong on melody and they grow. That's the good part.

The big disappointment is the production. Many reviews cover this. It seems flat and tinny - it lacks the atmosphere and dynamics we should expect from Yes. Simply, the instruments don't seem to breathe. The bass isn't as clear as it should be and the drums have the lightest sound ever on a Yes album. The power house of Chris Squire and Alan White is not what it was - at least not here. After a couple of plays of the CD I began to notice I had to turn up the volume to hear it at the right level. I then did a test - I played the opening overture from Fly From Here - and my worst fears were confirmed. It was a lot louder, much clearer and the instrumentation had the energy and dynamics so missing on Heaven and Earth.

So, what went wrong? I remember an interview with Mike Oldfield years back - he said he always plays his masters through 'ordinary hi-fi' to make sure it still sounds like he wants it to. Perhaps Yes should have done the same. It's all very well listening in the recording suite - us mere mortals don't have £10,000 speakers. I had my doubts when I heard Roy Thomas Baker was producing - they went for a 'name' rather than someone who could have given their new music a much more contemporary sound.

Is Heaven and Earth as bad as some of the reviews? Certainly not. Nothing could be as bad as Union - an album so dire that even charity shops would politely refuse to accept. It's way better than Open Your Eyes, its better than a lot of the songs on The Ladder too. If it had had a bit more time and they weren't, in their own words, rushing it at the end due to their touring - it might even have been a really good Yes album.

If you are new to Yes - go and buy the latest greatest hits `Wonderous Stories' and if you want more, get the complete albums from the 1970's like Fragile and Going for the One and 90125 to appreciate the Rabin 80's era. If you still want more - then Heaven and Earth deserves your £10. If, like me, you simply 'have to' buy the lot - you'll find enough here to keep the faith. And, in 2014 being able to listen to a new Yes album is a minor miracle - and that gets it an extra star. Overall I am happy with that.

Footnote: For Chris Squire fans - if you haven't already got Squackett's Life Within A Day - his recent work with Steve Hackett - it's well worth a listen. The bass is clearer, the writing is excellent and the production is just what's missing from Heaven and Earth. Maybe Chris should have called Hackett's producer Roger King.

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