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Drama (Deluxe Version)
 
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Drama (Deluxe Version)

YES
28 Jan 2008 | Format: MP3

5.99 (VAT included if applicable)
Buy the CD album for 4.91 and get the MP3 version for FREE. Does not apply to gift orders.
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Song Title
Time
Popularity  
30
1
10:23
30
2
1:21
30
3
6:29
30
4
8:32
30
5
4:42
30
6
5:17
30
7
3:45
30
8
4:27
30
9
3:40
30
10
7:30
30
11
5:36
30
12
1:08
30
13
3:16
30
14
5:56
30
15
2:53
30
16
3:38


Product details

  • Original Release Date: 28 Jan 2008
  • Release Date: 28 Jan 2008
  • Label: Rhino/Elektra
  • Copyright: 2004 Rhino Entertainment Company, a Warner Music Group company
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:18:33
  • Genres:
  • ASIN: B001LBEOMW
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (36 customer reviews)
  • Amazon Bestsellers Rank: 1,636 in MP3 Albums (See Top 100 in MP3 Albums)

Customer Reviews

4.3 out of 5 stars
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Most Helpful Customer Reviews

30 of 30 people found the following review helpful By Stotty on 6 Aug 2007
Format: Audio CD
While writing the follow up to 1978's Tormato, singer Jon Anderson and keyboardist, Rick Wakeman left the group.
This lineup of Yes is definitely the most controversial in the bands history. Combining the musical talents of Steve Howe, Chris Squire and Alan White with those of The Buggles (video killed the radio star anyone?) seemed a disasterous one. However, they got away with it and Drama stands for me as one of Yes' best efforts, despite being a somewhat neglected record.
OK Trevor Horn could never replace Jon Anderson on vocals, and most of the songs are crying out for his angelic tones. But there's a charm and sincerity about Horn's vocal style, and with Chris Squires distinctive backing vocal to supplement him, as well as Steve Howe mucking in, the vocal side of Drama is quite alright.
Geoff Downes is a revelation on keyboards, and he handles the 'widdly widdly' stuff excellently while throwing his own keyboarding style into the mix. It's no surprise that he would continue to work with Steve Howe on this type of music in the incredibly successful Asia.
As for Steve Howe, he plays some of his heaviest, most aggressive sounding guitar since 1974's Relayer, and the Chris Squire/Alan White rhythm section seems re energised and more driving than before.
The songs on Drama are first class. 'Machine Messiah' is a huge, moody behemoth of an opener with some superb melodies, great vocal harmonies, swirling keyboards and heavy metal guitar, hammered home with some great rolling bass, and thumping drums.
'White Car' is a beautifully sung track, but suffers from being a short song which ends almost as soon as it's begun.
'Does It Really Happen' is a pointer to the more commercial sounding music Yes would make in the 1980s.
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42 of 43 people found the following review helpful By A Customer on 25 Feb 2004
Format: Audio CD
Reading again and again how this recording is derided by comparing it to Anderson-era-Yes is particularly depressing, since this is a hell of a record in its own terms. Nobody seemed to like it when it appeared, while now more and more people realize how unjustly Drama was treated at the time. "Machine Messiah" and "Tempus Fugit" are sensational tracks. The rest is simply very good. Chris Squire's bass playing and Alan White's drumming in this CD are simply astounding. Yes, Jon Anderson is not there, but just listen to this music for what it is, without prejudice, and what you get is one of the prog-classics of all time.
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25 of 26 people found the following review helpful By N. ADAMS on 3 April 2006
Format: Audio CD
Drama is a surprising album. Surprising because it unites one half of the "classic" Yes line up (Steve Howe, Alan White, Chris Squire) with 80's pop duo, "The Buggles" (Trevor Horn, Geoff Downes). On the face of it not the most likely of partnerships and one that for Yes fans would seem doomed to fail since this particular inacrnation of the band was less its principle songwriter and singer, Jon Anderson.
In their 70's heyday, Yes produced sprawling Prog-Rock epics that went under ungainly titles such as "The Revealing Science of God" or "The Gates of Delerium". But by the early 80's, Yes and other bands of their ilk were a spent force in musical terms; having the metaphoricals kicked out of them by the aggression and nihilism of Punk.
The Buggles at the time, however, were flush with the success of their Top 5 hit "Video Killed the Radio Star" a song which seemed to signal a fresh and succesful decade for pop and the new art form of the music video.
So in some ways The Buggles had more to lose than the remaining members of Yes by chancing their arms on this collabrative venture. But Sqiure et al still had their reputations as superlative musicians to think about and there was no way that this album was ever going to be compromise on that front. The resulting album was not therefore a curious pop-rock record but still an unashamedly prog one.
Hovever, the playing is less frilly and the presentation less wayward, benefting from the directness Horn and Downes were giving them. Although Horn's vocals don't come anywhere near to Jon Anderson's range and delicacy he manages to more than hold his own in what must been a very daunting situation to find himself in.
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12 of 13 people found the following review helpful By S. G. Gilman on 8 April 2007
Format: Audio CD Verified Purchase
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.
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