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DISCID=57104b06
DTITLE=Yes / Relayer
DYEAR=1974
DGENRE=Progressive Rock
TTITLE0=The Gates Of Delirium
TTITLE1=Sound Chaser
TTITLE2=To Be Over
TTITLE3=Soon  [Bonus - Single Edit]
TTITLE4=Sound Chaser  [Bonus - Single Edit]
TTITLE5=The Gates Of Delirium  [Bonus - Studio Run Through]
EXTD=Originally Released December 5, 1974\nGold CD Edition Released N/
EXTD=A\nRemastered Edition Released October 4, 1994\nJapanese Version 
EXTD=(Mini LP CD Packaging) Released July 25, 2001\nRemastered, Expand
EXTD=ed Rhino Edition Released August 26, 2003\n\nAlbum Details (Mini 
EXTD=LP CD Packaging)\nJapanese limited edition featuring High Definit
EXTD=ion Digital Rematersing (HDCD) a miniature gatefold LP style slee
EXTD=ve for initial pressing. \n\nAMG EXPERT REVIEW: (Rhino Edition) F
EXTD=irst things first. It's unlikely that this remaster will convert 
EXTD=anyone who rejected Relayer in the past. Even more than its prede
EXTD=cessor, the sprawling Tales from Topographic Oceans, Relayer was 
EXTD=the sound of a band that built its reputation on vast, ambitious 
EXTD=ideas, facing up to the fact that it had completely run out of th
EXTD=em -- and the so-ponderous intro to "The Gates of Delirium" remai
EXTD=ns the most disappointing opening that any Yes album has ever end
EXTD=ured. How sad that they didn't forget the final mix and go with t
EXTD=he studio runthrough instead. Closing the three bonus tracks that
EXTD= pack out the 2003 remaster of Relayer, a full-length blast throu
EXTD=gh that side-long disappointment packs a sparkle and energy that 
EXTD=the released version absolutely lacks. The guitars and keyboards 
EXTD=shimmer, Anderson's vocal is alive with enthusiasm, and there's a
EXTD= dynamism to the rhythms that simply echoes through your head. El
EXTD=sewhere among these remasters, the alternate versions of familiar
EXTD= songs have offered little more than a rough blueprint of subsequ
EXTD=ent majesties. This time, the outtake is the best thing in sight,
EXTD= with the closing "Soon" section standing among the finest Yes re
EXTD=cordings of all. "Soon" reappears again among the bonus tracks, i
EXTD=n the form of a tight little single edit; "Sound Chaser," too, ma
EXTD=de it onto 45, and it's intriguing to hear its original nine minu
EXTD=tes cut down to just over three, dominated by guitar lines and a 
EXTD=loping rhythm that wouldn't have been out of place on a Led Zeppe
EXTD=lin album. The "cha-cha-cha" chorus is still annoying, though, an
EXTD=d the bulk of the remastered Relayer will doubtless languish unpl
EXTD=ayed in your CD collection. For that astonishing reappraisal of "
EXTD=Gates of Delirium," however, it's worth the cost of admission. --
EXTD= Dave Thompson\n\nAMG EXPERT REVIEW: Yes had fallen out of critic
EXTD=al favor with Tales from Topographic Oceans, a two-record set of 
EXTD=four songs that reviewers found indulgent. But they had not falle
EXTD=n out of the Top Ten, and so they had little incentive to curb th
EXTD=eir musical ambitiousness. Relayer, released 11 months after Tale
EXTD=s, was a single-disc, two-song album, its music organized into su
EXTD=ites that alternated abrasive, rhythmically dense instrumental se
EXTD=ctions featuring solos for the various instruments with delicate 
EXTD=vocal and choral sections featuring poetic lyrics devoted to spir
EXTD=itual imagery. Such compositions seemed intended to provide an in
EXTD=teresting musical landscape over which the listener might travel,
EXTD= and enough Yes fans did that to make Relayer a Top Ten, gold-sel
EXTD=ling hit, though critics continued to complain about the lack of 
EXTD=concise, coherent song structures. -- William Ruhlmann\n\nAmazon.
EXTD=com Customer Review\nMy favorite Yes - Not recorded as it deserve
EXTD=d, November 3, 2001 \nReviewer: Mark Burgh from Charlotte, NC Uni
EXTD=ted States \nIf you are reading this, you are probably a Yes fan,
EXTD= or becoming one, so PLEASE don't be put off my my four-star rati
EXTD=ng. One of the reasons we are so attracted to and attached to Yes
EXTD='s work is the attention to detail that whether by accident or ca
EXTD=lculation make the work in the Topographic period so fantastic. R
EXTD=ELAYER is my favorite Yes album, favorite cover, favorite Keyboar
EXTD=d player, favorite songs. Yet, Relayer was recorded in Chris Squi
EXTD=re's garage and sounds like it. Eddie Offord's deteriorating ment
EXTD=al state was no help, and even on the Japanse Digi-pack HDCD that
EXTD= I have, the music just doesn't snap like it should. \n\nGates of
EXTD= Delirium is what TFTO ought to have been: directed coherant, pow
EXTD=erful, and energetic. Patrick Moraz's playing has a lot to do wit
EXTD=h this. His injection of Brazilian music and Jazzier playing is a
EXTD= total break from the Rick Wakeman years, and the truth to be tol
EXTD=d, Wakeman's contribution wasn't so much in the playing (not that
EXTD= he's not one of the best, if not the best Rock keyboardists) but
EXTD= in his ability to communicate the sense of structure needed to m
EXTD=ake longer pieces come together. When Anderson & Howe managed to 
EXTD=absorb this information (which they didn't do so well for TFTO) t
EXTD=he music came together with the players to create a powerful soun
EXTD=d. \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, al
EXTD=though the Utopian is always the terminus of any Yes journey duri
EXTD=ng the Topographic sequence. \n\nWhat a shame it was not recorded
EXTD= at a real studio, with the Eddie Offord of 1972. \n\nAmazon.com 
EXTD=Customer Review\nMasterpiece., January 3, 2000 \nReviewer: Popmar
EXTD=t42@AOL.com from U.S. \nThis is Yes at their most innovative, com
EXTD=plex, intense, and structured. Very few albums in any genre of mu
EXTD=sic can match the demands that "Relayer" requires of the listener
EXTD=. This is more or less the only Yes album that focuses on that my
EXTD=sterious blend of rock and jazz music, otherwise known as fusion.
EXTD= In the wrong hands, fusion (and progressive rock in general), ca
EXTD=n be an excrutiating embarrassment. Just check out any Emerson, L
EXTD=ake and Palmer album for an example. But in the hands of skilled,
EXTD= competant musicians such as Yes, fusion can lift previous musica
EXTD=l expectations to new heights. The opening instrumental spiral of
EXTD= "The Gates of Delirium" , with Pat Morez's moog synth and uneart
EXTD=hly ensemble of keyboards, sets the tune for a piece of music tha
EXTD=t DEMANDS more than one listen. "Delirium" has the band changing 
EXTD=keys a gazillion times, the rythmic textures never stay still, an
EXTD=d those Chris Squire basslines are so swift that they practically
EXTD= split the piece in two. "Sound Chaser", just try to tap your fee
EXTD=t to this one! Steve Howe's guitar scales here are so complex tha
EXTD=t only a classically trained guitarist could pull them off (I'm a
EXTD= guitarist myself, NOT classically trained. Heck I don't even rea
EXTD=d music, so trying to play something from Steve Howe is way out o
EXTD=f reach). "Sound Chaser" also has a drum pattern from Alan White 
EXTD=that is incredibly manic, but keep in mind, confusion is the whol
EXTD=e idea here. It just encourages the listener to consentrate on wh
EXTD=at their hearing. Finally we come to "To Be Over", a nine minute 
EXTD=opus with the first half being a soothing near-chant complementin
EXTD=g atmospheric harpischord work from Morez, and the second half a 
EXTD=shakey, thunderstorm of a song containing ethernal vox from Jon A
EXTD=nderson. Again, key changes aplenty here. Make no mistake, "Relay
EXTD=er" is one of Yes' finest moments, and is an album meant to be ex
EXTD=perienced, not heard. \n\nHalf.com Album Credits\nEddie Offord, E
EXTD=ngineer\nEddie Offord, Producer\nYes, Producer\n\n\nAlbum Notes\n
EXTD=Yes: Steve Howe (vocals, guitar); Chris Squire (vocals, bass); Jo
EXTD=n Anderson (vocals); Patrick Moraz (keyboards); Alan White (drums
EXTD=).\n\nRecorded in Summer and Fall 1974. Originally released on At
EXTD=lantic (19135).\n\nDigitally remastered by George Marino (Sterlin
EXTD=g Sound).\n\nCarnivorous, alcohol-loving Rick Wakeman was always 
EXTD=at odds with the health-food mindset of the other Yes members, th
EXTD=ough his brash pomp was at the heart of their sound. When he was 
EXTD=replaced by Patrick Moraz (late of '70s prog obscurites Refugee a
EXTD=nd Mainhorse), it freed the band up to dive headlong into the eth
EXTD=ereal, spiritually oriented themes that had always been Jon Ander
EXTD=son's stock in trade. Thus, RELAYER consists of three extended cu
EXTD=ts (the 22-minute "Gates of Delirium" was once jokingly assessed 
EXTD=as the reason punk became necessary). Even on the inside cover's 
EXTD=band photo, the Yes boys look like they're in the middle of a pra
EXTD=yer meeting. The elaborately structured arrangements take the ban
EXTD=d's loftier side to previously unreachable heights (even compared
EXTD= to TALES FROM TOPOGRAPHIC OCEANS). However, it's all done so ski
EXTD=llfully (with much credit going to Moraz) that RELAYER draws you 
EXTD=in to its complex sonic web and fully captivates you. YEAR: 1974
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