# xmcd CD database file
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# Track frame offsets:
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# Disc length: 4173 seconds
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# Revision: 3
# Processed by: cddbd v1.5.2PL0 Copyright (c) Steve Scherf et al.
# Submitted via: CDex 1.40Beta4
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DISCID=57104b06
DTITLE=Yes / Relayer (Remastered & Expanded)
DYEAR=1974
DGENRE=Rock
TTITLE0=The Gates Of Delirium
TTITLE1=Sound Chaser
TTITLE2=To Be Over
TTITLE3=Soon (Single Edit - Bonus Track)
TTITLE4=Sound Chaser (Single Edit - Bonus Track)
TTITLE5=The Gates Of Delirium (Previously Unissued Studio Run Through)
EXTD=Originally Released December 5, 1974\nGold CD Edition Released N/A\nRem
EXTD=astered Edition Released October 4, 1994\nJapanese Version (Mini LP CD 
EXTD=Packaging) Released July 25, 2001\nRemastered, Expanded Rhino Edition R
EXTD=eleased August 26, 2003\n\nAlbum Details (Mini LP CD Packaging)\nJapane
EXTD=se limited edition featuring High Definition Digital Rematersing (HDCD)
EXTD= a miniature gatefold LP style sleeve for initial pressing. \n\nAMG EXP
EXTD=ERT REVIEW: (Rhino Edition) First things first. It's unlikely that this
EXTD= remaster will convert anyone who rejected Relayer in the past. Even mo
EXTD=re than its predecessor, the sprawling Tales from Topographic Oceans, R
EXTD=elayer was the sound of a band that built its reputation on vast, ambit
EXTD=ious ideas, facing up to the fact that it had completely run out of the
EXTD=m -- and the so-ponderous intro to "The Gates of Delirium" remains the 
EXTD=most disappointing opening that any Yes album has ever endured. How sad
EXTD= that they didn't forget the final mix and go with the studio runthroug
EXTD=h instead. Closing the three bonus tracks that pack out the 2003 remast
EXTD=er of Relayer, a full-length blast through that side-long disappointmen
EXTD=t packs a sparkle and energy that the released version absolutely lacks
EXTD=. The guitars and keyboards shimmer, Anderson's vocal is alive with ent
EXTD=husiasm, and there's a dynamism to the rhythms that simply echoes throu
EXTD=gh your head. Elsewhere among these remasters, the alternate versions o
EXTD=f familiar songs have offered little more than a rough blueprint of sub
EXTD=sequent majesties. This time, the outtake is the best thing in sight, w
EXTD=ith the closing "Soon" section standing among the finest Yes recordings
EXTD= of all. "Soon" reappears again among the bonus tracks, in the form of 
EXTD=a tight little single edit; "Sound Chaser," too, made it onto 45, and i
EXTD=t's intriguing to hear its original nine minutes cut down to just over 
EXTD=three, dominated by guitar lines and a loping rhythm that wouldn't have
EXTD= been out of place on a Led Zeppelin album. The "cha-cha-cha" chorus is
EXTD= still annoying, though, and the bulk of the remastered Relayer will do
EXTD=ubtless languish unplayed in your CD collection. For that astonishing r
EXTD=eappraisal of "Gates of Delirium," however, it's worth the cost of admi
EXTD=ssion. -- Dave Thompson\n\nAMG EXPERT REVIEW: Yes had fallen out of cri
EXTD=tical favor with Tales from Topographic Oceans, a two-record set of fou
EXTD=r songs that reviewers found indulgent. But they had not fallen out of 
EXTD=the Top Ten, and so they had little incentive to curb their musical amb
EXTD=itiousness. Relayer, released 11 months after Tales, was a single-disc,
EXTD= two-song album, its music organized into suites that alternated abrasi
EXTD=ve, rhythmically dense instrumental sections featuring solos for the va
EXTD=rious instruments with delicate vocal and choral sections featuring poe
EXTD=tic lyrics devoted to spiritual imagery. Such compositions seemed inten
EXTD=ded to provide an interesting musical landscape over which the listener
EXTD= might travel, and enough Yes fans did that to make Relayer a Top Ten, 
EXTD=gold-selling hit, though critics continued to complain about the lack o
EXTD=f concise, coherent song structures. -- William Ruhlmann\n\nAmazon.com 
EXTD=Customer Review\nMy favorite Yes - Not recorded as it deserved, Novembe
EXTD=r 3, 2001 \nReviewer: Mark Burgh from Charlotte, NC United States \nIf 
EXTD=you are reading this, you are probably a Yes fan, or becoming one, so P
EXTD=LEASE don't be put off my my four-star rating. One of the reasons we ar
EXTD=e so attracted to and attached to Yes's work is the attention to detail
EXTD= that whether by accident or calculation make the work in the Topograph
EXTD=ic period so fantastic. RELAYER is my favorite Yes album, favorite cove
EXTD=r, favorite Keyboard player, favorite songs. Yet, Relayer was recorded 
EXTD=in Chris Squire's garage and sounds like it. Eddie Offord's deteriorati
EXTD=ng mental state was no help, and even on the Japanse Digi-pack HDCD tha
EXTD=t I have, the music just doesn't snap like it should. \n\nGates of Deli
EXTD=rium is what TFTO ought to have been: directed coherant, powerful, and 
EXTD=energetic. Patrick Moraz's playing has a lot to do with this. His injec
EXTD=tion of Brazilian music and Jazzier playing is a total break from the R
EXTD=ick Wakeman years, and the truth to be told, Wakeman's contribution was
EXTD=n't so much in the playing (not that he's not one of the best, if not t
EXTD=he best Rock keyboardists) but in his ability to communicate the sense 
EXTD=of structure needed to make longer pieces come together. When Anderson 
EXTD=& Howe managed to absorb this information (which they didn't do so well
EXTD= for TFTO) the music came together with the players to create a powerfu
EXTD=l sound. \n\nThis album is a mirror image of CTTO, with the same three 
EXTD=song structure, with the opposite sort of themes to the music, although
EXTD= the Utopian is always the terminus of any Yes journey during the Topog
EXTD=raphic sequence. \n\nWhat a shame it was not recorded at a real studio,
EXTD= with the Eddie Offord of 1972. \n\nAmazon.com Customer Review\nMasterp
EXTD=iece., January 3, 2000 \nReviewer: Popmart42@AOL.com from U.S. \nThis i
EXTD=s Yes at their most innovative, complex, intense, and structured. Very 
EXTD=few albums in any genre of music can match the demands that "Relayer" r
EXTD=equires of the listener. This is more or less the only Yes album that f
EXTD=ocuses on that mysterious blend of rock and jazz music, otherwise known
EXTD= as fusion. In the wrong hands, fusion (and progressive rock in general
EXTD=), can be an excrutiating embarrassment. Just check out any Emerson, La
EXTD=ke and Palmer album for an example. But in the hands of skilled, compet
EXTD=ant musicians such as Yes, fusion can lift previous musical expectation
EXTD=s to new heights. The opening instrumental spiral of "The Gates of Deli
EXTD=rium" , with Pat Morez's moog synth and unearthly ensemble of keyboards
EXTD=, sets the tune for a piece of music that DEMANDS more than one listen.
EXTD= "Delirium" has the band changing keys a gazillion times, the rythmic t
EXTD=extures never stay still, and those Chris Squire basslines are so swift
EXTD= that they practically split the piece in two. "Sound Chaser", just try
EXTD= to tap your feet to this one! Steve Howe's guitar scales here are so c
EXTD=omplex that only a classically trained guitarist could pull them off (I
EXTD='m a guitarist myself, NOT classically trained. Heck I don't even read 
EXTD=music, so trying to play something from Steve Howe is way out of reach)
EXTD=. "Sound Chaser" also has a drum pattern from Alan White that is incred
EXTD=ibly manic, but keep in mind, confusion is the whole idea here. It just
EXTD= encourages the listener to consentrate on what their hearing. Finally 
EXTD=we come to "To Be Over", a nine minute opus with the first half being a
EXTD= soothing near-chant complementing atmospheric harpischord work from Mo
EXTD=rez, and the second half a shakey, thunderstorm of a song containing et
EXTD=hernal vox from Jon Anderson. Again, key changes aplenty here. Make no 
EXTD=mistake, "Relayer" is one of Yes' finest moments, and is an album meant
EXTD= to be experienced, not heard. \n\nHalf.com Album Credits\nEddie Offord
EXTD=, Engineer\nEddie Offord, Producer\nYes, Producer\n\n\nAlbum Notes\nYes
EXTD=: Steve Howe (vocals, guitar); Chris Squire (vocals, bass); Jon Anderso
EXTD=n (vocals); Patrick Moraz (keyboards); Alan White (drums).\n\nRecorded 
EXTD=in Summer and Fall 1974. Originally released on Atlantic (19135).\n\nDi
EXTD=gitally remastered by George Marino (Sterling Sound).\n\nCarnivorous, a
EXTD=lcohol-loving Rick Wakeman was always at odds with the health-food mind
EXTD=set of the other Yes members, though his brash pomp was at the heart of
EXTD= their sound. When he was replaced by Patrick Moraz (late of '70s prog 
EXTD=obscurites Refugee and Mainhorse), it freed the band up to dive headlon
EXTD=g into the ethereal, spiritually oriented themes that had always been J
EXTD=on Anderson's stock in trade. Thus, RELAYER consists of three extended 
EXTD=cuts (the 22-minute "Gates of Delirium" was once jokingly assessed as t
EXTD=he reason punk became necessary). Even on the inside cover's band photo
EXTD=, the Yes boys look like they're in the middle of a prayer meeting. The
EXTD= elaborately structured arrangements take the band's loftier side to pr
EXTD=eviously unreachable heights (even compared to TALES FROM TOPOGRAPHIC O
EXTD=CEANS). However, it's all done so skillfully (with much credit going to
EXTD= Moraz) that RELAYER draws you in to its complex sonic web and fully ca
EXTD=ptivates you. ID3G:  17
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