Despite how some Yes fans feel about this album, I think "Drama" is the greatest work of the band's long career. The only problem with this record is it's too short. From start to finish, "Drama" is a brilliant effort; Trevor Horn turns in some terrific vocals (proving himself more than worthy of taking Jon's place)--the harmonies with Chris and Steve soar higher than on any other Yes album. Chris Squire does the best bass playing of his career on "Drama", Andy White and Steve Howe likewise. The single most noticeable difference between this lineup and any other is the sheer heaviness of the sound; while there are many gorgeous and exquisite passages to be found, "Drama" rocks heavier than any other Yes album. Maybe this was due to the new members Horn and keyboardist Geoff Downes (who by the way is awesome too) but it seems to be the rhythm section really driving it. Lyrically, the songs are dark and forward-looking, then more inward; and you'll be hard-pressed to find better lyrics than "Machine Messiah" and "Tempis Fugit" on any progressive-rock album by any artist. In fact, I consider those two tracks to be the very greatest Yes songs yet. Why they have seemed to have fallen by the wayside is just beyond me. I liked "Drama" when it came out in 1980, but over the years I've grown to love it more and more--it not only still holds up, it seems to grow more relevant and contemporary with the passing of time. Most of Yes's work does, it's true, and I love every album (except maybe "Big Generator"), but there is something special about "Drama". Those of you who didn't like the album in 1980 should definitely relisten to it now (the cd remastering is superb)--considering all that has transpired in the years since, you may appreciate the album now. Those newer Yes fans who may have never heard "Drama" MUST pick it up; it's an essential work and a true milestone in their career. Not everyone will agree with me, but "Drama" is pure Yes.

This album is a far different cry than 1978's Tormato. Rick Wakeman and Jon Anderson left the band...replacing them were former Buggles' front man Trevor Horn and keyboardist Geoff Downes. The album has a harder edge than previous albums, demonstrated in songs like Machine Messiah and Tempus Fugit. Trevor Horn, sounding a bit of a cross between Jon Anderson and future member Trevor Rabin, does surprising well on the album(during the tour, criticisms though flared). Geoff Downes, although not as flashy as Wakeman, shows for the time that he was a very good replacement, at the least, shining on songs like Does It Really Happen. Remaining members Chris Squire, Steve Howe, and Alan White give the album a very driving sound. Some incredible guitar and bass on this album. Although this album doesn't necessarily have the Yes sound of old, it definitely is a hidden gem in their collection, and one of my favorites by the band.

This is the best YES album since "Close to the Edge". Released in 1980, when disco was almost dead and MTV-type rock and pop was on its way in, this was a daringly progressive album which hooks you right from the opening riff of "Machine Messiah". By the time it's ended with the awesome "Tempus Fugit", you're ready to play it all over again. While Jon Anderson would seem irreplacable, Trevor Horne filled in nicely, with a high-pitched voice that proved him a worthy successor.

I've seen YES live (5) times since 1987. I've always been disappointed that Anderson never learned to perform any of the songs from this album for a live show.

As much as I enjoyed the next YES album, "90125", it was a shame to see the band go from one musical extreme to the other, simply because musical times of the '80's were changing with the likes of Michael Jackson and Boy George (Good God!!!)

I just listened to this record for the first time in about ten years (in preparation for the Yes concert in London on 20/2/00). This was the Yes album I was determined to hate. How could they continue without Anderson? Wakeman had left before, and would again, so that was no surprise, or tragedy, but an album without the man who characterised the band?

As it turned out, the instrumental core of Yes - Chris, Alan and Steve - were still intact and more enthusiastic than at any time since 1977, and the replacements lend a clean, dynamic touch to the record that was lacking from the previous album.

The massive chords and multitracked vocals are precursors to the 1990s Yes, and the production values point the way to 90125. Most reviewers feel this is the album that took Yes into a new era. True, but they also have their feet in the virtuosic brilliance of the earlier records.

The Drama lineup could never last, and the album has the feel of a transitional work. But Yes would arguably never have survived without this record, and its influence remains in The Ladder, Union, Open Your Eyes and the Rabin albums. In the upcoming concert, I would love to hear the current lineup doing Into The Lens or Tempus Fugit, and publicly acknowledge the pivotal role this record played in keeping the Yes flame burning.

The most overlooked piece in the Yes catalogue. For many fans, the absence of both Jon Anderson and Rick Wakeman make this unworthy of the Yes moniker, but the Buggles (Trevor Horn and Geoff Downs) do a great job of filling in. This CD showcases a harder edged Yes. Steve Howe goes for an almost heavy metal feel in his playing on this album. The opeing bars of Machine Messiah set the tone. It is funny, but in some ways this CD sets the tone for the next evolution of Yes wherin Jon Anderson returned and Trevor Rabin took over the guitar duties. Rabin's harder edged guitar playing is more like Howe on this album than any other YES CD. One minus on this is that the CD clocks in at under 40 minutes. The amount of music you get, but the quality is excellent.