In 1980, Drama marked a significant turning point for the British progressive rock band Yes. Following tensions in the band’s lineup, Yes entered a period of uncertainty when longtime vocalist Jon Anderson and keyboardist Rick Wakeman left. Their departure paved the way for an unusual twist: Trevor Horn and Geoff Downes of the new wave duo the Buggles joined the band, ushering in a fresh yet risky era for Yes.
Yes veterans Steve Howe (guitar), Chris Squire (bass), and Alan White (drums) were working on more energetic material in contrast to Anderson and Wakeman’s softer, folk-inspired direction. Wakeman reportedly disrupted early sessions, throwing peanuts at White’s drum kit before eventually stepping back from rehearsals altogether. Further delays occurred when White suffered a broken ankle, setting recording back six weeks. Amid the chaos, Howe and Squire invited Horn and Downes to join the group. Despite being better known for their pop hit “Video Killed the Radio Star,” the duo quickly adapted to Yes’s signature complex compositions.
Horn’s vocal similarity to Anderson gave fans a familiar touch in an otherwise transformed lineup. The album’s lead track, “Machine Messiah,” showcased a harder edge, while songs like “Into the Lens” and “Run Through the Light” illustrated Downes’s innovative use of the vocoder and Horn’s seamless transition to bass duties. The upbeat closer, “Tempus Fugit,” highlighted Yes’s energy, with Howe noting that the title was inspired by Squire’s habitual tardiness.
Drama ultimately emerged as a critical success, blending progressive rock with new wave elements. Decades later, it remains a cult favorite, celebrated for its ambitious fusion of styles and the resilience of a band willing to take bold risks amidst upheaval.
