Customer Reviews

Relayer

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2 star:		(1)
1 star:		(1)

 

 

This classic had already been remastered on the Atlantic label a few years back. Now, we are treated to yet another series of Yes remasters: this time for the Rhino label. My suspicions on the motives behind this second series of Yes remasters aside, this classic remaster features a couple of single edits, and a studio run through. These are not very essential in my book, especially for people who love the album exactly as it is, but it's welcome, nonetheless.

Intense, harsh, ethereal, voluminous and ruggedly symphonic, Yes' 1974 release, _Relayer_ is arguably their most dark, experimental, grandiose and aggressive. 1972's _Close To The Edge_ was positive, peaceful and reflective. 1973's _Tales From Topographic Oceans_ was spiritually (and/or religiously) deep. However, on _Relayer_, Yes gets bleak, harsh and ominous--attributes that are rare in the positive, hopeful, celestial and peaceful world of Yes. But, make no mistake, the cosmic factor is in droves on this album, and is one non-stop sonic adventure.

The 22-minute war tale known as "The Gates Of Delirium", is a gargantuan slice of mystical progressive rock. In atmosphere, this epic features screaming synths, manic guitar solos and overall explosive volatility. Steve Howe's claustrophobic, finger-itching and hasty-paced guitar solos qualify him as nothing less than a virtuoso. Jon Anderson's vocals are ethereal, heartfelt and moving. Some of the rhythms played by Alan White are quite tricky, and not to be taken lightly. Later, Steve Howe and Chris Squire (bass) play something of an ascending scale before the violent, stormy and powerful instrumental middle section takes off. This is followed by the achingly beautiful "Soon, oh soon" section. The sad and poignant synthesizer backdrops provided by Patrick Moraz, set the stage for Jon Anderson's most poignant, ethereal and shiver-sending performance. His very last sung line (The sun will lead us, our reason to be here) makes my soul cry. After that, the epic sadly fades into oblivion.

"Sound Chaser" is a manic, frenzied and aggressive jazz-fusion number, which features enough technical mastery to give classic King Crimson a run for their money. Alan White's drumming is ultra-technical and violent. He plays as if there were no tomorrow. Steve Howe's guitar parts are fluid and virtuosic. The middle section features an extended guitar solo. Steve also seems to slip a portion of "Mood For A Day" (off of _Fragile_) on here as well. Chris Squire's snaky basslines sandwiched in the crazed mix are something to behold as well.

"To Be Over" is the mellow closer of the album. It features country-esque soundscapes (courtesy of Steve Howe's pedal steel), an instrumental section featuring many eerie sounds seeping from Patrick Moraz's keyboards, and a finale of chant-like vocal harmonies.

_Relayer_ is Yes hitting on all cylinders: Violence, intensity, aggression, gloom, despair, ethereality, love, hope (and maybe triumph). The complexity here may take some getting used to. But, in the end, _Relayer_ is a trip worth taking.

Released in 1974, this would be the last studio album from Yes for at least three years until the debut of their triumphant 1977 album Going for the One. Structurally, Relayer duplicates the format of Close to the Edge (1972) and as such is comprised of three pieces including the 21'55 epic The Gates of Delirium (it was Tolstoy's tome "War and Peace" that inspired vocalist Jon Anderson to put this epic together), in addition to the comparatively shorter pieces Sound Chaser (9'25") and To be Over (9'08"). In contrast with Tales from Topographic Oceans (1973), the energy levels are completely over the top on Relayer and may reflect the enthusiasm of new (Swiss) keyboardist Patrick Moraz. I think its worth noting that Moraz was a first chair player and his contributions to Relayer are consistently brilliant throughout - as an exceptional talent with a unique playing style, it is unfortunate he was not with Yes for a longer period of time.

Although the frenetic pace of Sound Chaser is exhilarating and the comparatively dreamy To be Over is a wonderful piece (Steve Howe's favorite apparently), The Gates of Delirium is my own personal favorite. Would I be way off the mark to say that The Gates of Delirium is the most well constructed large-scale composition in all of progressive rock? Being a huge Yes fan, it would be impossible to remain objective, but then again I have listened to a lot of prog and this composition really stands out. Over a period of 15 minutes or so, this multi-movement suite gradually develops into a wildly churning sonic maelstrom, with the sounds of shattering glass and the clangorous racket of metal on metal (they collected parts from the junkyard to create this effect) swirling around and fighting with violent and white-hot synthesizer lines, Squires thundering bass parts, and Steve Howe's absolutely manic guitar playing. Just when it appears that the CD player might actually erupt in flames (or wrench itself loose from its moorings), the chaos gradually dissipates into soft, muted textures, which then give way to the beautiful and gentle closing movement "Soon". Soon is a deeply emotional piece of music and Trevor Horn (he provided vocals on the Drama album 1980) has been quoted as saying that it "brought him to tears". This piece was eventually abstracted from the larger composition and issued as a single, which has been included on this remastered disc along with a studio run-through of The Gates of Delirium and a single edit of Sound Chaser. As somebody who once owned this on vinyl, the bonus tracks do not really enhance my enjoyment of the album although they are OK.

The musicianship on this album is mind-numbingly virtuosic and as I have mentioned, Patrick Moraz is outstanding. Even Alan White (Bill Bruford once condescendingly referred to him as a good "rock" drummer) provides some great drumming on Relayer, especially on Sound Chaser and it is probably his best recorded performance. Chris Squire once again demonstrates what it means to be a world class bassist and presents bass parts that range from the subtle to the impossibly difficult, while Steve Howe plays like a man possessed, with scalar runs played at breakneck speeds. OK I need to slow down - just thinking about this album makes me completely hyper.

The remastering on Relayer is wonderful and the CD package comes with a great set of detailed liner notes and color photos - the information may be "old hat" for hardcore Yes fans but should ultimately prove of interest to most. This is the real McCoy folks - progressive rock in all of its splendor. Highly recommended along with all Yes albums released between 1971 (The Yes Album) and 1977 (Going for the One).

Finally, the new series of Yes remasters contains *all* of the original artwork, new and detailed liner notes, and for the first time, bonus tracks of single edits and studio outtakes, many of which have never been heard before. But beyond that, the layers of muddiness and hiss that were still partly present on the last round of remasters have been removed for good. "Relayer", along with "Going For The One", benefits the most from this; one listen to the crystal-clear, warm intro to "To Be Over" will convince even the jaded that this is superior to any version previous, including the original vinyl.

Although "Fragile" and "Close To The Edge" are their most perfect marriages of experimentation and accessibility, and "Going For The One" continued that tradition with spectacular results, "Relayer" is in many ways the greatest Yes album. With "Tales" the group attempted to push the boundaries of rock to their furthest limits but were hampered by a lack of energy, repetitious padding, impenetrable lyrics and sagging, even boring melodies. It had its moments, but I'm one of those who continues to agree with Wakeman's assertion that it could have been far better with some judicicious editing, since it did have moments of beauty and inspiration.

Although far different in sound and style (the group traded in its traditional symphonic prog sound for a more electronic and jazz-fusion oriented approach), "Relayer" is really the perfection of what they were trying to achieve with "Tales" in terms of making their music as dense, complex and experimental as possible. "The Gates Of Delirium" is without a doubt to these ears their greatest side-long achievement and possibly the best suite in all of rock; unlike "Tales" this music actually has a pulse, which rocks *hard*. And the marriage of classically inspired structure and themes with heavy rock riffs and supple, exciting fusion rhythms from Squire and White--a mix not easy to pull off well--is sublime. The closing ballad "Soon", with its soaring vocals and lush, gorgeous atmospherics provided by Howe's reverbed slide and Moraz's mellotron is capped by a melody that sounds born to the ages, a truly timeless moment that is my absolute favorite in the Yes canon. The many layers and ever-shifting sections of this track may take a few listens to get used to, but it is well worth it.

As if the incredible structural and instrumental complexity, fire and grandeur of "Gates" weren't enough, "Sound Chaser"
tops it for sheer virtuosic bravura, a truly mind-boggling piece
that closes with the band playing an incredibly difficult riff (Squire proves beyond a shadow of a doubt that he is rock's most accomplished bassist) that is slowed down and sped up with such precision that it sounds like the tape has been manipulated, but it has not! Other highlights include Moraz's rippling electric piano work (he actually proved here to be a more diverse and experimental keyboardist than Wakeman, and although he arrived too late to have a hand in composing the songs, his atmospheric additions fit perfectly) and a thunderous Howe solo. The closing "To Be Over" is arguably their most beautiful epic ballad, beating out even "And You And I". It begins with a lilting, quasi-oriental melody played on acoustic guitar, synths and electric guitar before moving into the breezy verses and more shifting, jazzy solos that closes on a magical, wordless chant which again sounds like something taken from an ancient, timeless lost culture.

Overall, the music on "Relayer" remains Yes's most intense. It is obvious that they were bursting with new musical ideas and the level of composition and playing does truly fulfill the lofty aspirations of progressive rock--"The Gates Of Delirium" might as well have been composed by Wagner or Stravinsky, although it rocks harder in places than the heaviest metal. The ballads are simply amazing. The unreleased bonus cut, a studio run-through of "Gates" is fascinating and worth the purchase alone for Yes fans, detailing as it does the track's development with different lyrics and the absence of Moraz's synths, which allows the other layers to be heard more clearly. This album is well, well worth its bargain price and once again, Rhino has outclassed the competition.

There's little point in discussing the music of Relayer and it's importance in prog rock as others have done so at length elsewhere. What's great about this particular release is the beathtaking sound quality and bonus tracks provided by Rhino Records. A vast improvement over the original CD remaster, this is Yes sounding better than ever. Each instrument stands out in the mix, the highs are more crisp and the lows deeper. A great deal of the original tape hiss has also been removed. I heard nuances and layers of sound on this release that I'd never heard before; it was like listening to the album for the first time again.

As for the bonus tracks, the single edits of "Soon" and "Sound Chaser" are somewhat superfluous, but the alternate version of Gates of Delerium is quite interesting. I won't give too much away, but I will say it's fascinating how much it varies from the album version.

With crystal clear sound and almost 30 minutes of bonus material all at a budget price, this re-issue of one of Yes' classic albums is a great value for any fan of progressive rock music.

Looking 3+ decades into the past, it appeared that progressive rock was on its last legs. Critics gleefully cited 1973's "Tales of Topographic Oceans" as bombastic nonsense brought on by the excesses of the success of progressive rock. Progressive rock was rapidly disappearing from the mainstream. However, progressive rock never died, it just became less visible, partially sunk by the weight of its concepts. It was in the waning years of progressive rock's greatest success that Yes released "The Gates of Delirium," an excellent album that backed away from the philosophical noodling of "Tales." This album proved that progressive rock had a lot more to say, if anyone was still listening.

The first track is "The Gates of Delirium," the longest song at nearly 22 minutes. The beginning of this song is delicate, almost tentative. I can almost imagine that the beginning of this song is a kind of apology to fans who failed to understand or enjoy the overpowering bombast of "Tales from Topographic Oceans." However, the beginning of this song is not an apology, but the quiet, peaceful beginning to a song of war, much like Tchaikovsky's "1812 Overture." Indeed, the more I listened to this song, the more I found parts that matched "The 1812 Overture." Referring to the booklet included with my Rhino remastered version, I learn that this song was loosely based on "War and Peace" by Leo Tolstoy. Both "War and Peace" and the "1812 Overture" were inspired by Napoleon's invasion of Russia in 1812 and the events leading up to that invasion; similar source for motivation, similar, if different, outcomes.

The "battle" portion at the middle of the song is dramatic and sophisticated. Understanding that the song is about a war is helpful, but it takes little analysis to come to the realization that the middle portion is about conflict. The complexity of the music is a treat for progressive rock fans, though true enjoyment could take some time since the discordant threads that intrude through the middle portion of the song are initially disturbing. After gaining a better appreciation for the song, I finally came to enjoy the cacophony of the battle. The contrast of the battle with the first portion of the song and the last two portions of the song, which includes "Soon," heightens the song's drama even more.

Musically, the song is mixed. Steve Howe's guitar is brilliant. Jon Anderson's vocals are generally fine, though I thought he might have been reaching to the edge of his capabilities in a couple of places. Chris Squire's bass makes me long for the era when the bass guitar was more prominent than it typically seems to be now. I have read criticism of Alan White's drumming, but I find the criticism to be excessive. Alan White's drums are precise and accurate, and periodically intense to the point where the drums give this song a bit of a metal edge. My descriptions leave keyboardist Patrick Moraz.

Rick Wakeman was and is a phenomenal keyboardist. However, his keyboards sometimes overpower the other instruments. The change from Wakeman to Moraz was very noticeable. I appreciate that Moraz's approach to Yes's music was understated compared to Wakeman's, but I was accustomed to Wakeman. Moraz falls short for me. However, I do like the delicacy with which Moraz plays synthesizers. I also think that Moraz's synthesizers really helped the end of this track when Jon Anderson sings "Soon."

In summary, "The Gates of Delirium" is an incredible work that stands with the best music that classic progressive rock has to offer. The music and lyrics are accessible with minimal effort. The musicianship, especially the guitars, is fantastic. Jon Anderson really pushed himself vocally, but the result is enjoyable. Fans of classic progressive rock need this song in their collection.

The second track is "Sound Chaser." I enjoy this exuberant song that revels in joy and contemplation. One thing immediately stands out to me in this song, and that is Steve Howe's incredible finger work on his guitar. Though Steve Howe's guitar dominates much of this song, interlaced with Chris Squire's bass, the support from the other instruments reminds me of a much more realized version of "Moonchild" from "In the Court of the Crimson King." Alan White's drumming periodically reminds me of Chicago's "Motorboat to Mars." I even enjoyed Moraz's keyboards on this song. This song is essentially an instrumental with minimal vocals for spice. The only problem I have with this song is the "cha-cha-cha" vocal, which is fortunately brief.

The third track, which was the final song on the original vinyl album, is "To Be Over." After the complexity of the first track and the enthusiasm of the second track, this track provides a peaceful coda for "Relayer." The music is mellow and delicate. The vocals are smooth and mellow. Portions of the music transcend my ability to describe (which is how music should be). This song fits so well in the era in which it was created, surrounded by The Moody Blues, Pink Floyd, King Crimson and others who tried something different and expansive, unworried about whether the music could be packaged commercially. Those really were the days. Listen and remember.

This remaster also includes single versions of "Soon" and "Sound chaser." A studio run-through of "Gates" is the final track (Jon's vocals are unpolished and the music is good, with a couple of clunks); all nice stuff to have, but not mandatory.

I suppose every generation thinks their music was the best. Yet, as much as I keep looking now for what was then, when there was so much, it seems there is so little to find. How fortunate that this music is now timeless, forever available as CD's, MP3's and more. Here is music to lose yourself in, but only because you can find yourself in the music.

Enjoy!

Relayer is a fabulous album. Rick Wakeman was replaced on keyboards by Patrick Moraz, but the band didn't miss a beat IMO. I rank this album as the 3rd best in the Yes catalog (behind "The Yes Album" and "Close to the Edge", and just ahead of "Going for the One"). "The Gates of Delirium" is another classic 20+ minute Yes piece, and "Sound Chaser" rocks heavy (some GREAT guitar work by Steve Howe on this tune). But, the song which elevates this CD ever so slightly above the aforementioned "Going for the One" is the final song, "To be Over". This 9+ minute gem is the one of the most underrated great Yes songs. The artwork by Roger Dean is incredible. You will be pleasantly surprised by this CD.

Even if this is a demanding record, it's really misguided to say that the music lacks structure. To me, it seems much tighter structured than "Tales" or most of the stuff Yes have been doing in the last twenty years. The building-up of tension in "Gates of Delirium" and "Sound Chaser" is way beyond "Close to the Edge". Frankly, I think CTTE (the title track, at least - I can hear the stones coming!) has dated far more than this album. The technology and the soundscapes are awesome, and some of it was pioneering work for this time (some of the synths used by Moraz, for example). But in '74, this must have seemed a very provoking record.
Even if "Gates" starts out in a flowery, warm mood, after barely a minute the first menacing streaks can be heard. Plainly, the band intended it to be that way: there's a roughness, a tension and a metallic sheen right from the start which is in effective contrast with Anderson's patently heroic lyrics about fighting for the just cause.
When I got to know this record - in the eighties - I asked myself how far Jon Anderson is earnest in his "call to arms" and at what points he might be blood-curdlingly ironic, ripping off patriotic and religious rhetoric. The point seems to be that he doesn't know himself to 100%; he enters the part lika an actor and the power of the track just sweeps him away. Steve Howe has said later that Jon was "very much the leader of the group, and he could be really Napoleonic at times" so he may have envisaged himself as the 2warrior king" he is singing about. But the music and the singing seem to get filled with subconscious feelings which take control of it all.
It's an amazing piece in constructive terms too, the ruthless propulsion and the sound effects at the heart of it make "Gates" a blistering depiction of war. Maybe it's a just battle, but a fight all the same that leaves scars for many years to come. And the ending (which we also get in single edit here), does it really resolve the tensions? I don't think it's a plain "happy end". It is a sort of catharsis, but the shadows of the fighting seem to fall over the music till the very end. On "Tales", "Ritual" closed on the tonic, in a peaceful mood. "Gates" ends in a scale of slowly rising notes, but it ends one step below the tonic where you'd have felt the music coming to a rest. The doubts about the future are still hanging around.
Ultimately, I think they were asking "how far can one really justify a war by promising a paradise after it's won? And if you go for a revolution, how much blood and suffering should you accept to make things better?" Questions that many people just didn't want asked in 1974 - neither left-wing terrorists, nor Richard Nixon and his supporters , nor the junta of Pinochet in Chile. Yes managed really good to show how conflicts live on and on if no one stops to ask questions about their morality, and they do it with terrific focus and energy.
The other two main tracks on the album are great sidepieces to the central painting. "Sound Chaser" is fun (don't miss the "gorilla chorus" at the end! Well, you can't, really...) and the swing of the music is quite unlike any other Yes track I've heard.
"To be Over", finally, fuses different kinds of music - country, far Eastern music, English church hymns and rock - with a gentle power all its own, gorgeous guitar and electric sitar from Howe, and Chris Squire's thundering and yet delicately phrased bass cascades, and a magical feeling for pauses. "Be ready to be loved" is the final line - the lyrics could be about feeling liberated as a person, or about feeling united with a sacred force. In the end, they deal with feeling at home, loved and accepted, no matter what troubles one has seen. The theme points forward to many songs they would do later on.

Many people were turned off of Yes after the Double Album Monstrosity of Tales from Topographic Oceans. If Close to the Edge really was close to the edge of reason in Yes' music, Tales really went over the edge. It was HUGE in every way, and mostly fantastic. Well Relayer really shows Yes realizing that they did kind of go over the edge...or they were at "The Gates of Delirium" dare I say.

What really separates this album from other Yes albums of this magnitude (such as Close to the Edge and Tales) is the fact that is sooo Cohesive. Everything seems to have a unified effect, and it definitely has a unique Yes sound (which is already unique). The Album opens with the Side 1 occupying "The Gates of Delirium", an epic loosely based on Tolstoy's War and Peace. The lyrics definitely reflect the idea of an impending war followed by a massive instrumental battle (drums and keyboards dueling) and ending with Jon Anderson (Vocals) and Patrick Moraz's (Keyboards) duet of hope entitled "Soon". This is, in my opinion, Yes' best epic...slightly..EVER so slightly beating Close to the Edge (but maybe not, it really depends on what day it is, you know).

Following Gates, is Sound Chaser, a jazz-fusion-y-Rocker. This is really accented with the sheer power of the music; it's chaotic, yet at the same time controlled. This is analogous with Steve Howe's savage guitar solo in the middle of the song (separating the two halves). Following Sound Chaser is To Be Over. This song may easily be skipped due to the fact that you are simply out of breath from the first two tracks. However, when you take the time to study this song, it is phenomenal. It is so delicate yet so powerful; it shows Yes' amazing subtleties and powerful songwriting.

This album is most easily comparable to Close to the Edge, due to the fact that it is very similar in structure. It's almost a yes cook book: 1 part Epic, 1 part Rocker, 1 part Softer song, and poof, you have a Yes Masterpiece. The best way to really look at Relayer compared to Close to the Edge is that it is just harder in every way. It is significantly more intense, and complex. Perfect example: Compare the A-capella parts out of Siberian Khatru to Sound Chaser. In Siberian Khatru, its a slow, Da...Da...Da Da Da....Da... DA....da da da...da da da..da .da dada...etc... In Sound Chaser it's an abrasive multi-layerd Da da da DA DA!! Da da da DA DA!!!. No space what-so-ever. Just all power. There is a microcosm for Close to the Edge compared to Relayer It isn't necessarily better than Close to the Edge, its just yes in a heavier light. It may be more appealing to the...say Dream Theater and Mars Volta fan, while Close to the Edge is more appealing to the OSI, Porcupine Tree crowd.

For the musicians out there, this is an impressive work. Chris Squier's Basslines are just as funky and powerful as ever. Steve Howe's guitar work is unbelieveable (noteably on Sound Chaser). Alan White's underrated playing is more developed, confident, and powerful than on Tales, and has a more fusion trend than Bill Bruford's (a jazz guy).

In any way you look at it, Relayer is one of Yes' most cohesive, structured, astonishing works, easily comparable to Close to the Edge and Tales from Topographic Oceans. Essential Yes.

This is truly a great record. The best of the infamous 'trilogy' (CTTE, Tales and Relayer). There is little I can add to the very informed and well documented previous reviews; I can say, however, that to me it is really a pity that instead of further exploring some 'new' capabilities that Yes display on this record (for, example, the 'free jazz' intro on Sound Chaser or the amazing guitar improv. in the same song), the group recruited Wakeman back and indulge on pompous, pretentious displays of talent that conform their career thereafter. I heard Relayer soon after its inception and, to me, it was a brain opener, a huge, monumental piece of musical craftmanship that leaves you craving for more, wondering where the 'next step' will take you. Unfortunately, there has never been a next step, though there has been a lot of records, break-ups, unions and re-unions. But nothing then compares to the power, intensity and -yes- VITALITY displayed on Relayer. For those of you that are new to this band, perhaps it could be a good idea to begin your trip with this record and THEN go after 'Close to the Edge'. It can be a good way to stop the cravings. What is true is that if you are really interested in what rock music can achieve, you can't certainly pass on this record. Enjoy!

Probably Yes' second best offering as a complete album, next to Close to the Edge. Sure, no Bruford, no Wakeman, but Alan White and Patrick Moraz hold their own here. I think I may actually like Moraz better than Wakeman...a little jazzier, but still an excellent, classically-trained keyboardist with as many (or more) keyboards as Wakeman. Howe's guitarwork is great, some of his best work, and Squire's sweet basslines and Anderson's soaring tenor vocals sound as good as ever. The epic "Gates of Delirium" is one of Yes' greatest long tracks, with possibly the most intense instrumental section of any Yes song. It's up there with "Close to the Edge" and "The Revealing Science of God". "Sound-chaser" is a daring tune, even for Yes, but is a great tune that really rocks in the middle sections. 'To Be Over' is a great ballad, in the style of "And You and I", very beautiful. In my opinion, progressive rock fans should not be without any of Yes' albums between 'The Yes Album' and 'Going for the One', Yes' last truly great album. This music is quite indulgent, but fans of great music, made by great musicians, for the sake of music, should definitely get this.
This edition features some extra tracks, but these don't really add much to the album (in fact, they sort of break up the feel and continuity of the album). Still, this remastering sounds great, includes some nice photos, lyrics and liner notes. A huge sonic step up from the original Atlantic release from 1990.
Yes "newbies" will probably want to start off with a compilation, or 'Fragile' or the 'Yes Album'...if you like what you hear there, then get 'Close to the Edge', and then get this album.