Yes’ 2014 studio album found them working with their second new singer since Jon Anderson’s departure following 2001’s Magnification. This time, the not-Jon-Anderson was Jon Davison of Tennessee-based prog act Glass Hammer. (He was also, like his predecessor Benoît David, the former singer of a Yes tribute band.) Davison is actually worse than David, because where David sounded enough like Anderson that you could almost confuse the two of them (except that David enunciated more clearly, and didn’t have Anderson’s inhuman, piercing upper register), Davison has one of those ultra-clean, ultra-boring prog rock voices. He sounds a lot like Dream Theater’s James LaBrie, honestly. And the songs — many of which he co-wrote — are similarly faceless and boring, sad to say. When they’re not boring, they’re actively lame, like “Step Beyond,” which is built around this bouncing, up-and-down keyboard melody that sounds like something from a children’s album, like it should have lyrics about drinking your milk or brushing your teeth. If the music had just a fraction of the edginess of Yes’ best work, there might be something to recommend Heaven & Earth to diehards. But between the watered-down music and Jon Davison’s almost intolerable vocals, this record is a total wash.