It almost seem that progressive pock keyboardist Dave Kerzner and Yes bassist Billy Sherwood are in a competition. No, not to see who has the best Yes-centered tribute album for 2018 (they both are great), but the mantel of the busiest man in prog pock.
Kerzner is completing his own Static Live project, and is also preparing for another appearance on the Cruise to the Edge. It’s somewhat amazing that in between touring with his own band; following up on Static, his epic 2017 release; and appearing as a guest artist on many other projects that Yesterday and Today: A 50th Anniversary Tribute to Yes got done – much less that it’s as cohesive as it is. Part of album’s success is due to co-producer Fernando Perdomo. In fact, Perdomo is as busy as Kerzner, having just released his own solo album, Zebra Crossing.
Kerzner and Perdomo had a great list of songs to pull from. This in itself creates an obstacle as the Yes material represented here does not span the entire 50 years of the band, but stops instead at “I’m Running” from 1987’s Big Generator. I would have loved to hear a remake of “Subway Walls” from 2014’s Heaven and Earth or “Can You Imagine” from 2001’s Magnification.
Despite the stellar contributions by Robin Schell and Marco Minnemann, “I’m Running” seems out of place next with the other tracks on Yesterday and Today: A 50th Anniversary Tribute to Yes. In contrast to the opening song, however, “Machine Messiah” soars. Yes keyboardist Geoff Downes’ contributions lend an air of credibility, while vocalist Nick D’Virgilio’s vocals are forceful yet respectful to Trevor Horn’s original vocals. Allowing D’Virgilio to step from behind his drums and in front of the mic is a bold and rewarding move.
Equally rewarding is “Yours Is No Disgrace,” from 1971’s The Yes Album. Co-founding Yes keyboardist Tony Kaye is featured on organ, and Marisol Koss sings. Dave Kerzner and Fernando Perdomo’s production recreates many of the original song’s nuisances while freshening up the keyboard passages (by Kerzner). Koss’ lead vocals work well in place of Jon Anderson; the harmonies are in place and true to what has gone before. The drumming is more rock based than the Bill Bruford original, but as a whole “Yours Is No Disgrace” works well.
Sally Minnear handles the vocals for “Turn of the Century” from 1977’s Going For the One. The use of a female vocalist and minimal production of the song enhances the melodic power of the composition. It’s simple and beautiful. “Sweetness” from Yes’s self-titled 1969 debut is not as successful. While the song is delivered well by vocalist Pat Sansone, it points to the contrast in writing from their first project to The Yes Album. The song is early ’70s pop, but not particularly memorable.
The band Curved Air breathes new life into the classic “Soon” from 1974’s Relayer. The main acoustic and slide guitar intro is enhanced, as vocalist Sonja Kristina adds an eerie yet effective feel to a tale of redemption. The song floats on a gentle rhythm, which builds until an electric guitar kicks in 2/3rds of the way into the song. Prog god Steve Hackett gets to add his unmistakable stamp to “Cinema” from 1983’s 90125. The Grammy-winning original is stretched just a bit, but retains much of the feel of the original. Hackett doesn’t stray too far from the Trevor Rabin leads, but does add a slightly different timbre and feel.
You almost expect to hear “Leave It” or “Owner of a Lonely Heart” from 90125. Instead, we are treated to “Changes,” another song from that comeback project, and “treat” is an accurate description. The song kicks off with a marimba opening by Hal Rosenfeld. Former Yes keyboardist Tim Brislin adds additional textures with piano, while Dave Kerzner compliments him with synthesizers. Billy Sherwood plays the iconic guitar part with Jay Gore, while pulling double duty on bass. Fernando Perdomo even adds Steve Howe-like textures with a lap steel guitar. This is all capped off by Robert Berry’s lead vocal, which meshes seamlessly with Billy Sherwood’s harmonies.
This update is one of the best on Yesterday and Today: A 50th Anniversary Tribute to Yes, but “The Acoustic Medley” tops them all. Perdomo handles the acoustic guitar and mandolin with a delicate authority, tying together “Your Move,” “And You and I” and “Wonderous Stories” in a way which seems totally natural and original. Kerzner employs harmonium and claviola, further lending to an original feel. Then there’s Yes singer Jon Davison, who handles the lyrics as if they were written by him. This isn’t a recreation of a Yes original; it’s an imaginative and welcome retelling.
“The Fish” is a welcome inclusion and features Billy Sherwood on bass in a song he feels perfectly at home playing. Sherwood does not try to totally recreate the Chris Squire classic, as producers Kerzner and Perdomo add tasty touches to enhance the original. I would have preferred to hear “Whitefish,” the Yes drum/bass jam from 1985’s 9012Live, but “The Fish” is quite enjoyable. It’s only fitting that “Starship Trooper” wraps things up. Sherwood is back on guitar; he and Perdomo who also handle guitar in addition to bass, giving the song more of a rock flavor than the original. Francis Dunnery’s vocals resemble Chris Squire more than Jon Anderson, but carries things nicely – as does Kerzner’s pulsating organ. It’s a fine end to the album, though a bit anticlimactic after “the Acoustic Medley” and “The Fish.”
Yesterday and Today: A 50th Anniversary Tribute to Yes can be found via the usual online retailers, but I highly recommend the deluxe version available via Bandcamp. It features two unreleased Yes inspired new songs, “Trifecta” featuring Billy Sherwood and Dave Kerzner and “The Architect II” featuring Fernando Perdomo & OTS. The additional songs are hard-rocking prog masterpieces, and worthy additions to this very enjoyable album.
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