In hindsight, Drama proves to be absolutely the bridge between the 70's archetypal Yes and a precursor for the resurgence of the "90125" era of the group. After the indifference of 1978's Tormato, Yes were under fire from their record company to be more commercial friendly and the band were rehearsing material with assigned producer Roy Thomas Baker(Queen, The Cars) in the south of France in mid 1979. Apparently, things were not well with band or producer, and in an uneventful moment of happenstance, drummer Alan White had broken his foot during a night off from the studios, and effectively, put the project on ice. Anderson and Wakeman, in particular, were questioning the validity of what material was being written, and abruptly left the band. Once the remaining trio of Squire, White and Howe reconvened, the option of moving forward seemed to be the only solution for the welfare of its existing members. Trevor Horn and Geoff Downes were a pop/new wave duo that had just had success with the single, Video Killed the Radio Star and happened to be under the same management as Yes. While Horn's vocals were a bit thin at times, compared to that of Jon Anderson, Downes proved to be a sound choice of musician and brought Yes into the 80's most prominently with his use of newer keyboard techniques, bringing a fresher approach musically. A majority of Yes fans felt betrayed by the addition of the Buggles to this record, but honestly, once one listens to the disc, the results are stunningly paramount and ultimately boosted the group's collective musical morale on the wider scale of things.

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Machine Messiah opens with a brooding atmosphere, and once the track begins, there's a sense of earnestness and a revitalized sound is readily apparent. With Steve Howe's snarling guitar performances, Alan White's powerhouse drumming, Chris Squire's prolific and reliable bass lines and the emergence of Downes' keyboard style, plenty of textures accentuate the wealth of this opening number. Vocally, Horn echoes a lot of Anderson's phrasings, helped by the harmonies from Squire that gives this number a solid amount of consistency in its overall presentation. White Car is an odd interlude that features the newer members' style intertwining with that of the core trio; it predominantly features Trevor's vocals and Downes' keyboards most significantly. Does it Really Happen was reconstructed from the previous Tormato sessions and is a strong track that has elements of pop/new wave interspersed within its core that exemplifies the freshness and significance of this updated version of the group. 

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Into the Lens(aka I Am A Camera) is a contribution from Horn and Downes and is yet another fine example of strong songwriting and performance that adds to the appeal of the finished album. Built largely around the keyboard arrangement from Downes, Howe's guitar playing is direct and brisk, White's drumming is persistent and Squire's bass lines are inventive and compelling. Once again, the vocals strengthen the track successfully and Lens justifiably, remains the gem of the record. Run Through the Light has a bit of a Police influence in its rhythm attack and song arrangement, culminating in a solid track that brings a consistently satisfying entry to the record. Closing with the ambitiously performed Tempus Fugit, which features some of Howe's most breathtaking guitar pyrotechnics coupled in tandem with the marvelous performance from Geoff Downes complimenting Howe, Drama is realized as a powerful and viable entry within the Yes catalog, despite the rushed influx of personnel changes.

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The 2004 reissue reveals some of the abortive French sessions with Anderson and Wakeman in the ranks, and it's easy to see why things were going wrong with the group at that particular time. Dancing Through the Light(an early demo of Run Through the Light) is most significant as it features a very cold/machine-like synth arrangement of a "new wave"flavor, and has a textured, "guide vocal" which sounds as though an android is singing the number.  Golden Age, In the Tower and Friend of a Friend continue in similar vein to the  disjointed quality of Tormato  and are rightly substandard and almost stubborn in attempting to meld new elements to the group, while hanging onto the Yes style of old. Some people are divided, perhaps, as to the validity of Drama, but I find it as absolutely an essential and satisfying piece of work in order for Yes to carry on and survive within their career. It is the perfect catalyst for what would be the Trevor Rabin era in the next few years; a move which completely turned the band's fortunes around in the process.

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Rating Grade- B+