![Relayer [Original recording remastered]](http://images.amazon.com/images/P/B00007LTIB.01.TZZZZZZZ.jpg)
2003 remastered, reissue of 1974 album with redesigned booklet (digipak/slipcase), restored LP art, archival photos and new liner notes. Includes 3 bonus tracks 'Soon' (single edit), 'Sound Chaser' (single edit) & 'The Gates Of Delirium' (studio run-through). Elektra.
Relayer,Yes,Elektra / Wea,Album Rock,Pop,Pop/Rock,Prog-Rock/Art Rock,Rock,Rock/Pop
Relayer [Original recording remastered]
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Relayer
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ASIN: B00007LTIB Release Date: 2003-08-26 |
Tracks:
- The Gates Of Delirium
- Sound Chaser
- To Be Over
- Soon (Single Edit)
- Sound Chaser (Single Edit)
- The Gates Of Delirium (Studio Run-Through)
Album Description
2003 remastered, reissue of 1974 album with redesigned booklet (digipak/slipcase), restored LP art, archival photos and new liner notes. Includes 3 bonus tracks 'Soon' (single edit), 'Sound Chaser' (single edit) & 'The Gates Of Delirium' (studio run-through). Elektra.Customer Reviews:
Sound Chaser - Open Your Mind to the Sounds of YES.......2007-06-17
Yes, I am a true fan of 'Relayer' as I tend to play this one most often. This was my first album in the vast and extensive YES catalog. -Very intense and satisfying to my ears. More of a straight forward - in-your-face progressive Rock sound (especially with "Sound Chaser")then the one before it - the more atmospheric "Tales From Topographic Oceans" which is still a joyous and stimulating, but relaxing mind trip, none the less.
'Relayer's' opener is "The Gates of Delerium"(Epic 21 + min.) - Highly enjoy it's sound with it's intense "battle scene" of instruments : drums & keyboards. The Electric guitar bliss of course tapering off into a meloncholic section with Jon Anderson singing : "Soon..."
"Sound Chaser" (track 2)just sounds like all instruments sounding off in a fast pacing glorious mess of noise and scope. Yes, this is my favorite YES track by far, and it's really where new band member Patrick Moraz (who leaves after this studio album)shows his gifted technique Rocking out the keyboards.
An Amazon friend of mine (who suggested that I check this band out) was a bit surprised that I picked 'Relayer' up first out of YES' catalog.
He said "Relayer is like a Rubick's Cube of sound (confusion), but Chris I am really glad you enjoy it." -Then he pointed me to checking out 'Fragile' and 'Close to the Edge' & believe me I am really thankful because of it.
"To Be Over" closes out the original 1974 album. It's a bit more of a dreamy style song with a gentler beauty then the chaotic pulse racing ("Sound Chaser") but this really is more of a reflective piece closer to the sound of "Tales From Topographic Oceans" - built with structure.
- Then you have the expanded three songs including "Soon" which is the part where I feel Jon Anderson really delivers one of his best vocals.
The part taken out of the opener -"Gates.." but you get right to this section of wondrous beauty : "Our Heart is open Our reason to be Healed"
- My favorite expansion track is the last version of "Gates of Delerium"-
More fully charged sound enlightening the mind and shows off more of YES' creativity.
I always like extra songs from Remastered + Expanded albums. It's just more to love and 'Relayer' does not disappoint.
'REPLAY the RELAYER' CHA CHA CHA cha cha!!
Speed metal .......2007-06-13
Unbelievable manic solos, like the build-up in Gates of Delirium which definitely gets the title of Most Intense Song, Ever. Some of Steve Howe's finest guitar work is on this album. Listen to the trade off between guitar and keyboard in Gates, and also on Soundchaser, with some pretty crazy time signature and tempo changes, but it *always* has a groove. And the steel guitar in the beautiful, haunting 'To Be Over' is a sonic delight.
But regardless of what kind of playing they do, it's in vain if their songs aren't any good. And here Yes does not disappoint, with some of their very best songwriting ever. Gates of Delirium matches word and music perfectly, slowly insinuating conflict, building to vocal declarations of battle, from which ensues the craziest duel of instruments known to man, Steve Howe playing on the edge of his talent here, ending in the craziest drum roll in Alan White's career, then a dizzyingly triumphant victory march. Then the pain caused by battle sinks in and Anderson imparts some chillingly beautiful vocals on a layer of steel guitars and strings. The whole thing ends on a note that sounds so mysterious, so beckoning...
Soundchaser, to me, seems to be about music itself, and how it intertwines with our sensations and perceptions. "From the moment I reached out to hold, I felt a sound". A strange jazz-fusion start, then a grooving part with vocals, then an electric guitar solo that sounds at times like a Hungarian dance, then more grooving parts, with a wild solo by Moraz that proves a keyboard can be just as heavy as a guitar.
To Be Over is absolutely a gorgeous song with a beautiful atmosphere. Vocal harmonies and a dreamy steel guitar. Classical music motifs give this song a feel of the older Yes, but the feel is flowing, legato, rather than a profusion of notes. And yet another beautiful electric guitar solo by Howe, and whistling, eerie keyboards by Moraz. Vaguely consoling lyrics set the mood.
Re-relayer it again!.......2007-04-01
Great Yes album!.......2007-03-17
The perfect Yes album.......2007-03-14
Here you have an epic 20-minute track (like something from Tales) along with 2 moderate-length tracks. Each track is absolutely excellent - creative, soul-stirring, passionate music that Yes is famous for, but unlike any of their other albums, there is not one weak track here. Not even a weak moment. This record was Yes telling the world to stuff it after getting so much (undeserved) grief over Tales.
As for Moraz, his jazz stylings work better with rock music than classical stylings ever will. Why he left Yes, or was asked to, I'll never understand. This was their last really great recording, and he definitely made a serious contribution to its success.
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Relayer
Yes Manufacturer: Atlantic / Wea ProductGroup: Music Binding: Audio CD General
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ASIN: B000002J1B Release Date: 1994-10-04 |
Tracks:
- The Gates Of Delirium
- Sound Chaser
- To Be Over
Customer Reviews:
Relayer - a rock solid adventure.......2007-05-11
I didn't like this album at first but after a while and some additional years of maturing, I came to discover that his album actually was the pinnacle of their success. They could go no farther than they had on "Tales" so this, as I said, was a step back from that style and a tentative reach toward the bands more accessible rock sounds. Up to this release, the Yes fans had become conditioned to expecting and receiving an entire vinyl album of perfection. Thinking of Yes as having a bad release was unthinkable at the time. But later came other releases that would cement the fact that Yes was a group of individual musicians that were bound to change and try new areas of music and sounds. Some with much less success than others.
"Relayer" stands the test of time in that the sounds actually paint musical images when one uses the imagination. It would take the group nearly ten years to come up with another album where each song was enjoyable and memorable which is what happened when Yes released Atlantic album number 90125. The period of time between "Relayer" and "90125" had only minor memorable songs. Even the much anticipated "Big Generator" was a huge flop, following so closely on the heels of "90125" which only goes to show that the group had continued to grow and evolve and the glory days of successive smash hit releases was over. Yes continued to reinvent itself over the years with Wakeman returning and leaving the band much as the tide ebbs and flows. The once in a lifetime chemistry that produced the first three albums could never be repeated even when the same band members rejoined as each of them had matured and changed. "Relayer" is still a solid album after all these years. Perhaps it takes a more mature ear to appreciate what the group had back in 1974.
Relayer--somewhere in between greatness and insanity.......2006-10-18
They successfully destroyed the further exploration and cultivation of the art form, but not the spirit of its followers. It was in this climate, though, that Yes's 1974 release, 'Relayer,' was somewhat ignored and shunned. The band did not succeed outright in reuniting its fans (three years later, the release of 'Going for the One' came much closer to this ideal) with 'Relayer,' but they did set down a truly progressive album, ripe with fresh ideas and a totally new direction for the band.
This new direction was fostered somewhat by the recent lineup changes (the exodus of drummer Bill Bruford after 'Close to the Edge' and keyboardist Rick Wakeman's departure after 'Tales'). Drummer Alan White was called in for 'Tales,' and to fill Wakeman's shoes, Swiss-born keyboardist Patrick Moraz was commissioned well into the 'Relayer' project. White, now a seasoned member of the band, gained the confidence to give his best performance on 'Relayer.' And Moraz, a fresh addition, offered a completely different playing style than Wakeman. While Wakeman was steeped in classical, Moraz was much more influenced by jazz.
Now that I have given the facts, it's time for the evaluation segment. I must respectfully disagree with many of the reviewers of this album in that I personally do not like Patrick Moraz's work. Considering the matter at length, I find the parts about the album I consistently dislike are the keyboard lines. The synthesizer programming is universally awful; most of the time it sounds like helium escaping from a balloon. Also, Moraz uses almost all synthesizers, the Mellotron is often swallowed in the mix, and the Hammond organ is almost nonexistent. The latter two are things I miss from the band's earlier albums; even Tony Kaye on the very early albums was proficient in the usage of the Hammond organ. The Hammond, I believe, was integral to the band's sound. And Rick Wakeman's classical sensibilities kept his contributions within the bounds of reason, whereas Moraz's work is rather grating and irritating. Finally, Wakeman's synthesizer programming--though sometimes staid--had a warm and organic feel to it, something which I sorely miss on 'Relayer.' While it is true that this album is indeed one of noticibly less absolute structure than the previous efforts, and while certainly its sound is rougher and harder, I think some sort of solid base was needed, and the keyboards would have been where I would have placed it.
As far as Alan White, I agree with most people (including Bill Bruford himself): He just doesn't quite measure up to Bruford, though he is very good. Of course some of that may well be the somewhat flat production of this album (which was recorded in some sort of mobile studio), but it seems as though the life and breath the drumming had when Bruford was at the sticks has vanished in favor of a more "backseat" style of drumming. The remarkable thing about Yes is that, on the three albums from 1971 ('The Yes Album') to 1972 ('Fragile' and 'Close to the Edge'), no member of the band ever served simply as background. Most bands subjugate the rhythm section to a mere continuo, but not Yes. Each member of the band stood out at some point or other in the music. White, for all his efforts, sort of fades into the background in a way that Bill Bruford never did.
The remaining members of the band perform brilliantly as ever. Jon Anderson's vocals are truly first-rate, Steve Howe gives what is perhaps his most daring technical performance all throughout the album, and Chris Squire's trademark Rickenbacker--muted a little in this album--is present as ever. Overall the musicianship of the band is sterling, perhaps better than at any point or lineup in the band's existence. I will never dispute that 'Relayer' is the most technically-advanced Yes album, and I will venture to argue that it is the most technically-advanced album in all of music.
But technical skill, dazzling as it may be, is not everything in music.
As far as the album itself, I wouldn't proclaim as some have that it is Yes's greatest achievement. On the whole, it's somewhat less musical than most Yes music and a great deal denser and harder to appreciate. It's also somewhat darker lyrically than the generally sunny material put out by the band in the past. The first track is by far the best, and the next two just don't strike me as anywhere near as brilliant as some people find them. In fact, I find the second track nearly unlistenable, especially the frenzied "Cha cha cha!" part near the end. It is for the comparatively lacking status of these two tracks, along with the awful keyboards, that I only give the release four stars. There is brilliant material on 'Relayer,' but I believe some of it could have been presented and developed much better.
For the most part, the entire album is a clear departure from the earlier releases. It does not entirely lack structure as some people might at first believe; rather, the structure of each track is held together much more loosely then in the conventional sense and mostly by the format of the song, not the actual music itself. This will take some acclimation, and all through this album one perceives the opposing forces of greatness and insanity battling it out, each with the ultimate goal of prevailing. Throughout, a tenuous balance between the two is upheld.
I will now comment exclusively upon the first track, "The Gates of Delirium."
This song will take a great deal of listening in order to appreciate. Most people who first listen to it will find themselves wishing it to be over around about the ten-minute mark. Of all the Yes I have sampled (everything from the debut up through this album, and then some of their later material), "Gates" by far took me the longest time to like. And, unlike any other Yes song I have ever heard, I utterly hated "Gates" the first three or four times I tried it. It is the wildest, most cacophonic piece of music ever recorded, I venture to say.
So why did I keep listening to it? Well, I did spend a decent amount of money on the album, and if I had just left it on the rack collecting dust, all I would have had to show for it would have been perhaps one of the prettiest album covers Roger Dean ever produced. Also, I refused to believe something that appealed so little to me could possibly have generated so much acclaim among progressive rock fans. Obviously the music was very difficult to get into, and I decided to confront the challenge with repeated listening.
I won, so to speak, because I have discovered the magic of this track. The comparison that is made most often is between "The Gates of Delirium" and "Close to the Edge." My opinion on the matter has changed with repeated listening to both, and I must now submit that I honestly cannot decide which of these phenominal epics is better. I suppose it depends upon the day on which you ask the question, so for all practical purposes, to me it's a tie.
"Gates" carries the listener through one of the most engrossing musical journeys ever composed. The basic story is that of a war, and then the silence which follows the fighting. The story is told through both the words and the music, which is a trademark facet of Yes music since 'Close to the Edge.' The ending sequence, excised as the single "Soon," is breathtakingly beautiful. It only really shines with all its might when absorbed just after the brain-shattering cacophony of the "War of the Instrumentalists" that comes just before it in the music. After that intensity, one feels as though he had actually been part of the battle, and now that it's over, the sun is shining down in vivid shafts through the clouds. And, up in the sky, the gates of Heaven are opening and spreading eternal warmth and beauty over the war-torn landscape. The delirium of war is replaced with the glimmering, soul-fulfilling advent of inner peace. It will give you chills.
For the benefit of those viewing this particular item's page with intent to purchase this particular edition of the album, you should know that 'Relayer' was re-remastered in 2003 by Rhino Records. The Rhino edition comes in a digipack with slipcover and includes bonus tracks. Though I have not personally compared the two, the sound quality of the 2003 edition allegedly far outstrips that of this 1994 Atlantic edition.
All in all, this album is experiencing a revival insofar as appreciation. And I believe it deserves it; it was underrated in the beginning, and it is now finally seeing its due. However, I would recommend 'Relayer' to only a very select group of people. Devoted Yes fans (or is it Yesfans) probably already have this album in one form or another, and if not, what are you waiting for? I would definitely not start with 'Relayer' if you are new to the band or to progressive rock in general. 'The Yes Album' (1971), 'Fragile' (1972), and 'Close to the Edge' (1972) (and in that order) would be your best bet. If you like what you hear, you will (eventually) like 'Relayer.' Basically, this is a fans' album. Casual listeners probably shouldn't waste their time on this one. I'm not trying to be condescending; I'm just trying to save you some time and money.
Flawed brilliance.......2005-07-21
"The Gates of Delirium" has a complex and unusual melodic structure and some great arrangements. For my money, the emergence of the "Soon, oh soon" section does not match the impact of "I get up, I get down", the equivalent break in "Close to the Edge". Part of the problem is intrusive guitar. Overall, however, the piece succeeds in creating the sensation of a relentless, delirium-inducing ride to the brink.
"Sound Chaser" is possibly the most extreme track Yes ever recorded. A few years later it might have become a piece of speed metal, a genre that did not exist in 1974. It's frustrating to imagine how much this track could be improved with tighter production and editing. Steve Howe's guitar playing is brilliant but not always completely in synch with the rest of the band - a precondition for the success of a song like this. Let's hope Yes thinks of recording a new version that corrects these mistakes, perhaps in speed metal style.
The final track "To Be Over" contains a truly beautiful melodic break ("Childlike soul dreamer.."). Otherwise, I find its structure rather disjointed and the main theme verging on a nursery-rhyme.
In conclusion, there is plenty here to entertain Yes fans and prog connoisseurs. For newcomers to Yes, however, I recommend "Close to the Edge", "Fragile", or "The Yes Album".
A layer of efficiency.......2005-07-13
Rick Wakeman doesn't play here, but he was replaced by a great Keyboardist:
Patrick Moraz. He does good solos too. Here are the songs and comments:
The gates of dellirium:
It was the longest track that Yes ever recorded
(side long in a vinyl, 22 minutes). Instead of being scared with the lenghth,
maybe you'll think this song shouldn't end. It's simply marvellous.
Chris Squire's bass is one of the highlights, it gives a special touch.
The part before John Anderson sings "Stand and fight, we do consider..." contains one of
the best instrumentations I've ever heard in a progressive album.The lyrics
are an epic that talk about people doing a revolution against opression and corruptive leaders.
The sung pieces have no comment: all catchy.
After a great Moraz solo , the band does the battle noises. Alan White's
percussion imitate swords colliding.
And then, after some more Keyboards and guitar, John sings "Soon, oh soon
the light...Our song will lead us , our reason to be here" followed by a calm and pretty melody.
Sound Chaser: This song has a weird intro. Steve Howe's solo in the middle is boring,but it has a good use of his abilities.
However, Patrick's sweet keyboards(before the lines cha-cha-cha-cha-cha) breaks the rigmarole.
This is the worst track.
To be over: This song is perfect from start to end.The voices fit very well with the melody.
Steve Howe uses something original: a slide guitar that sounds like hula hula in Hawaii.
Patrick's work before the lines "After all,your soul still surrenders" will make your mind travel.
This is one my favourite Yes songs.Extremely beautiful and memorable.
Besides the weaker Sound Chaser, the others provide all of these stars.
Remember:Play it with the basses increased in your sound equipment to feel the music effects completely.
The sleeve is a portrait of Gates of dellirium, with some dream castles.
The back sleeve of the vinyl(which I own) has two snakes on stones. I don't know if they appear in the cd's booklet.
One of their proggiest and best.......2005-04-10
Rick Wakeman's one-album departure made way for Swiss virtuoso Patrick Moraz, sporter of one of the the most ridiculous 70's hairstyles ever, but a prodigiously talented keyboard player. Moraz had the ability to copy Wakeman but wisely chose not to, opting for a unique and more jazz influenced sound at times, and using some very new and different synth sounds at others. His playing here is truly a standout in the Yes repertoire.
"The Gates of Delerium" is the epic and features tight instrumental interplay interspersed with Jon Anderson's tale of the evils of war. Such distinctly un-Yes-ian lyrics as "slay them, burn their children's laughter on to hell" stand out, before an atmospheric segment gives way to one of my favourite moments in all of Yes's work, when Moraz and Steve Howe toss a tuneful little riff around before the beautiful and uplifting tune-within-an-epic "Soon" rises up from the mist to take us out on a hopeful note. One of their all time best extended pieces and an absolute must for prog fans.
"Sound Chaser" has sometimes been called an excuse for Howe to go completely nuts on guitar, and while his soloing is certainly over the top, Squire, Moraz and White get in some wankery besides, and I mean that as a compliment since this IS prog! There is a pretty nice prog piece in there as well.
"To Be Over" sustains a quieter, reflective vibe throughout it's 9 minutes, basically a simple pop styled song with everyone getting to show off during the break. My one complaint is the rather abrupt ending after the nice symphonic buildup. I think this song needed to go out with a bit more of a bang rather than a quickie fade-out.
That aside, Relayer is one of Yes's finest and most satisfying albums, although I recommend it more for the hardcore prog fan.
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Relayer
Yes Manufacturer: Atlantic / Wea ProductGroup: Music Binding: Audio CD General
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ASIN: B00000DOZB Release Date: 1990-10-25 |
Tracks:
- Gates of Delirium
- Sound Chaser
- To Be Over
Customer Reviews:
Relayer--somewhere in between greatness and insanity.......2006-10-18
They successfully destroyed the further exploration and cultivation of the art form, but not the spirit of its followers. It was in this climate, though, that Yes's 1974 release, 'Relayer,' was somewhat ignored and shunned. The band did not succeed outright in reuniting its fans (three years later, the release of 'Going for the One' came much closer to this ideal) with 'Relayer,' but they did set down a truly progressive album, ripe with fresh ideas and a totally new direction for the band.
This new direction was fostered somewhat by the recent lineup changes (the exodus of drummer Bill Bruford after 'Close to the Edge' and keyboardist Rick Wakeman's departure after 'Tales'). Drummer Alan White was called in for 'Tales,' and to fill Wakeman's shoes, Swiss-born keyboardist Patrick Moraz was commissioned well into the 'Relayer' project. White, now a seasoned member of the band, gained the confidence to give his best performance on 'Relayer.' And Moraz, a fresh addition, offered a completely different playing style than Wakeman. While Wakeman was steeped in classical, Moraz was much more influenced by jazz.
Now that I have given the facts, it's time for the evaluation segment. I must respectfully disagree with many of the reviewers of this album in that I personally do not like Patrick Moraz's work. Considering the matter at length, I find the parts about the album I consistently dislike are the keyboard lines. The synthesizer programming is universally awful; most of the time it sounds like helium escaping from a balloon. Also, Moraz uses almost all synthesizers, the Mellotron is often swallowed in the mix, and the Hammond organ is almost nonexistent. The latter two are things I miss from the band's earlier albums; even Tony Kaye on the very early albums was proficient in the usage of the Hammond organ. The Hammond, I believe, was integral to the band's sound. And Rick Wakeman's classical sensibilities kept his contributions within the bounds of reason, whereas Moraz's work is rather grating and irritating. Finally, Wakeman's synthesizer programming--though sometimes staid--had a warm and organic feel to it, something which I sorely miss on 'Relayer.' While it is true that this album is indeed one of noticibly less absolute structure than the previous efforts, and while certainly its sound is rougher and harder, I think some sort of solid base was needed, and the keyboards would have been where I would have placed it.
As far as Alan White, I agree with most people (including Bill Bruford himself): He just doesn't quite measure up to Bruford, though he is very good. Of course some of that may well be the somewhat flat production of this album (which was recorded in some sort of mobile studio), but it seems as though the life and breath the drumming had when Bruford was at the sticks has vanished in favor of a more "backseat" style of drumming. The remarkable thing about Yes is that, on the three albums from 1971 ('The Yes Album') to 1972 ('Fragile' and 'Close to the Edge'), no member of the band ever served simply as background. Most bands subjugate the rhythm section to a mere continuo, but not Yes. Each member of the band stood out at some point or other in the music. White, for all his efforts, sort of fades into the background in a way that Bill Bruford never did.
The remaining members of the band perform brilliantly as ever. Jon Anderson's vocals are truly first-rate, Steve Howe gives what is perhaps his most daring technical performance all throughout the album, and Chris Squire's trademark Rickenbacker--muted a little in this album--is present as ever. Overall the musicianship of the band is sterling, perhaps better than at any point or lineup in the band's existence. I will never dispute that 'Relayer' is the most technically-advanced Yes album, and I will venture to argue that it is the most technically-advanced album in all of music.
But technical skill, dazzling as it may be, is not everything in music.
As far as the album itself, I wouldn't proclaim as some have that it is Yes's greatest achievement. On the whole, it's somewhat less musical than most Yes music and a great deal denser and harder to appreciate. It's also somewhat darker lyrically than the generally sunny material put out by the band in the past. The first track is by far the best, and the next two just don't strike me as anywhere near as brilliant as some people find them. In fact, I find the second track nearly unlistenable, especially the frenzied "Cha cha cha!" part near the end. It is for the comparatively lacking status of these two tracks, along with the awful keyboards, that I only give the release four stars. There is brilliant material on 'Relayer,' but I believe some of it could have been presented and developed much better.
For the most part, the entire album is a clear departure from the earlier releases. It does not entirely lack structure as some people might at first believe; rather, the structure of each track is held together much more loosely then in the conventional sense and mostly by the format of the song, not the actual music itself. This will take some acclimation, and all through this album one perceives the opposing forces of greatness and insanity battling it out, each with the ultimate goal of prevailing. Throughout, a tenuous balance between the two is upheld.
I will now comment exclusively upon the first track, "The Gates of Delirium."
This song will take a great deal of listening in order to appreciate. Most people who first listen to it will find themselves wishing it to be over around about the ten-minute mark. Of all the Yes I have sampled (everything from the debut up through this album, and then some of their later material), "Gates" by far took me the longest time to like. And, unlike any other Yes song I have ever heard, I utterly hated "Gates" the first three or four times I tried it. It is the wildest, most cacophonic piece of music ever recorded, I venture to say.
So why did I keep listening to it? Well, I did spend a decent amount of money on the album, and if I had just left it on the rack collecting dust, all I would have had to show for it would have been perhaps one of the prettiest album covers Roger Dean ever produced. Also, I refused to believe something that appealed so little to me could possibly have generated so much acclaim among progressive rock fans. Obviously the music was very difficult to get into, and I decided to confront the challenge with repeated listening.
I won, so to speak, because I have discovered the magic of this track. The comparison that is made most often is between "The Gates of Delirium" and "Close to the Edge." My opinion on the matter has changed with repeated listening to both, and I must now submit that I honestly cannot decide which of these phenominal epics is better. I suppose it depends upon the day on which you ask the question, so for all practical purposes, to me it's a tie.
"Gates" carries the listener through one of the most engrossing musical journeys ever composed. The basic story is that of a war, and then the silence which follows the fighting. The story is told through both the words and the music, which is a trademark facet of Yes music since 'Close to the Edge.' The ending sequence, excised as the single "Soon," is breathtakingly beautiful. It only really shines with all its might when absorbed just after the brain-shattering cacophony of the "War of the Instrumentalists" that comes just before it in the music. After that intensity, one feels as though he had actually been part of the battle, and now that it's over, the sun is shining down in vivid shafts through the clouds. And, up in the sky, the gates of Heaven are opening and spreading eternal warmth and beauty over the war-torn landscape. The delirium of war is replaced with the glimmering, soul-fulfilling advent of inner peace. It will give you chills.
For the benefit of those viewing this particular item's page with intent to purchase this particular edition of the album, you should know that 'Relayer' was re-remastered in 2003 by Rhino Records. The Rhino edition comes in a digipack with slipcover and includes bonus tracks. The original 1990 set of Yes albums are known to have poor sound quality, so you would be much better served to get the Rhino edition.
All in all, this album is experiencing a revival insofar as appreciation. And I believe it deserves it; it was underrated in the beginning, and it is now finally seeing its due. However, I would recommend 'Relayer' to only a very select group of people. Devoted Yes fans (or is it Yesfans) probably already have this album in one form or another, and if not, what are you waiting for? I would definitely not start with 'Relayer' if you are new to the band or to progressive rock in general. 'The Yes Album' (1971), 'Fragile' (1972), and 'Close to the Edge' (1972) (and in that order) would be your best bet. If you like what you hear, you will (eventually) like 'Relayer.' Basically, this is a fans' album. Casual listeners probably shouldn't waste their time on this one. I'm not trying to be condescending; I'm just trying to save you some time and money.
Yes continues to make suite music.......2003-02-28
A technical masterpiece.......2002-09-16
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Relayer
Yes Manufacturer: Wea/Warner ProductGroup: Music Binding: Audio CD General
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ASIN: B0000AN110 Release Date: 2003-09-22 |
Tracks:
- Gates of Delirium
- Sound Chaser
- To Be Over
Album Details
Digitally remastered Japanese version.Customer Reviews:
Relayer--somewhere in between greatness and insanity.......2006-10-18
They successfully destroyed the further exploration and cultivation of the art form, but not the spirit of its followers. It was in this climate, though, that Yes's 1974 release, 'Relayer,' was somewhat ignored and shunned. The band did not succeed outright in reuniting its fans (three years later, the release of 'Going for the One' came much closer to this ideal) with 'Relayer,' but they did set down a truly progressive album, ripe with fresh ideas and a totally new direction for the band.
This new direction was fostered somewhat by the recent lineup changes (the exodus of drummer Bill Bruford after 'Close to the Edge' and keyboardist Rick Wakeman's departure after 'Tales'). Drummer Alan White was called in for 'Tales,' and to fill Wakeman's shoes, Swiss-born keyboardist Patrick Moraz was commissioned well into the 'Relayer' project. White, now a seasoned member of the band, gained the confidence to give his best performance on 'Relayer.' And Moraz, a fresh addition, offered a completely different playing style than Wakeman. While Wakeman was steeped in classical, Moraz was much more influenced by jazz.
Now that I have given the facts, it's time for the evaluation segment. I must respectfully disagree with many of the reviewers of this album in that I personally do not like Patrick Moraz's work. Considering the matter at length, I find the parts about the album I consistently dislike are the keyboard lines. The synthesizer programming is universally awful; most of the time it sounds like helium escaping from a balloon. Also, Moraz uses almost all synthesizers, the Mellotron is often swallowed in the mix, and the Hammond organ is almost nonexistent. The latter two are things I miss from the band's earlier albums; even Tony Kaye on the very early albums was proficient in the usage of the Hammond organ. The Hammond, I believe, was integral to the band's sound. And Rick Wakeman's classical sensibilities kept his contributions within the bounds of reason, whereas Moraz's work is rather grating and irritating. Finally, Wakeman's synthesizer programming--though sometimes staid--had a warm and organic feel to it, something which I sorely miss on 'Relayer.' While it is true that this album is indeed one of noticibly less absolute structure than the previous efforts, and while certainly its sound is rougher and harder, I think some sort of solid base was needed, and the keyboards would have been where I would have placed it.
As far as Alan White, I agree with most people (including Bill Bruford himself): He just doesn't quite measure up to Bruford, though he is very good. Of course some of that may well be the somewhat flat production of this album (which was recorded in some sort of mobile studio), but it seems as though the life and breath the drumming had when Bruford was at the sticks has vanished in favor of a more "backseat" style of drumming. The remarkable thing about Yes is that, on the three albums from 1971 ('The Yes Album') to 1972 ('Fragile' and 'Close to the Edge'), no member of the band ever served simply as background. Most bands subjugate the rhythm section to a mere continuo, but not Yes. Each member of the band stood out at some point or other in the music. White, for all his efforts, sort of fades into the background in a way that Bill Bruford never did.
The remaining members of the band perform brilliantly as ever. Jon Anderson's vocals are truly first-rate, Steve Howe gives what is perhaps his most daring technical performance all throughout the album, and Chris Squire's trademark Rickenbacker--muted a little in this album--is present as ever. Overall the musicianship of the band is sterling, perhaps better than at any point or lineup in the band's existence. I will never dispute that 'Relayer' is the most technically-advanced Yes album, and I will venture to argue that it is the most technically-advanced album in all of music.
But technical skill, dazzling as it may be, is not everything in music.
As far as the album itself, I wouldn't proclaim as some have that it is Yes's greatest achievement. On the whole, it's somewhat less musical than most Yes music and a great deal denser and harder to appreciate. It's also somewhat darker lyrically than the generally sunny material put out by the band in the past. The first track is by far the best, and the next two just don't strike me as anywhere near as brilliant as some people find them. In fact, I find the second track nearly unlistenable, especially the frenzied "Cha cha cha!" part near the end. It is for the comparatively lacking status of these two tracks, along with the awful keyboards, that I only give the release four stars. There is brilliant material on 'Relayer,' but I believe some of it could have been presented and developed much better.
For the most part, the entire album is a clear departure from the earlier releases. It does not entirely lack structure as some people might at first believe; rather, the structure of each track is held together much more loosely then in the conventional sense and mostly by the format of the song, not the actual music itself. This will take some acclimation, and all through this album one perceives the opposing forces of greatness and insanity battling it out, each with the ultimate goal of prevailing. Throughout, a tenuous balance between the two is upheld.
I will now comment exclusively upon the first track, "The Gates of Delirium."
This song will take a great deal of listening in order to appreciate. Most people who first listen to it will find themselves wishing it to be over around about the ten-minute mark. Of all the Yes I have sampled (everything from the debut up through this album, and then some of their later material), "Gates" by far took me the longest time to like. And, unlike any other Yes song I have ever heard, I utterly hated "Gates" the first three or four times I tried it. It is the wildest, most cacophonic piece of music ever recorded, I venture to say.
So why did I keep listening to it? Well, I did spend a decent amount of money on the album, and if I had just left it on the rack collecting dust, all I would have had to show for it would have been perhaps one of the prettiest album covers Roger Dean ever produced. Also, I refused to believe something that appealed so little to me could possibly have generated so much acclaim among progressive rock fans. Obviously the music was very difficult to get into, and I decided to confront the challenge with repeated listening.
I won, so to speak, because I have discovered the magic of this track. The comparison that is made most often is between "The Gates of Delirium" and "Close to the Edge." My opinion on the matter has changed with repeated listening to both, and I must now submit that I honestly cannot decide which of these phenominal epics is better. I suppose it depends upon the day on which you ask the question, so for all practical purposes, to me it's a tie.
"Gates" carries the listener through one of the most engrossing musical journeys ever composed. The basic story is that of a war, and then the silence which follows the fighting. The story is told through both the words and the music, which is a trademark facet of Yes music since 'Close to the Edge.' The ending sequence, excised as the single "Soon," is breathtakingly beautiful. It only really shines with all its might when absorbed just after the brain-shattering cacophony of the "War of the Instrumentalists" that comes just before it in the music. After that intensity, one feels as though he had actually been part of the battle, and now that it's over, the sun is shining down in vivid shafts through the clouds. And, up in the sky, the gates of Heaven are opening and spreading eternal warmth and beauty over the war-torn landscape. The delirium of war is replaced with the glimmering, soul-fulfilling advent of inner peace. It will give you chills.
All in all, this album is experiencing a revival insofar as appreciation. And I believe it deserves it; it was underrated in the beginning, and it is now finally seeing its due. However, I would recommend 'Relayer' to only a very select group of people. Devoted Yes fans (or is it Yesfans) probably already have this album in one form or another, and if not, what are you waiting for? I would definitely not start with 'Relayer' if you are new to the band or to progressive rock in general. 'The Yes Album' (1971), 'Fragile' (1972), and 'Close to the Edge' (1972) (and in that order) would be your best bet. If you like what you hear, you will (eventually) like 'Relayer.' Basically, this is a fans' album. Casual listeners probably shouldn't waste their time on this one. I'm not trying to be condescending; I'm just trying to save you some time and money.
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Average customer rating: 
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Last Man on the Earth
Relayer Manufacturer: Nex ProductGroup: Music Binding: Audio CD General
| Rock
| Styles
| Music
ASIN: B00003Z9WX Release Date: 2000-05-30 |
Tracks:
- Change For Less
- Paint Me Red
- I Destiny
- Favorite Day Of The Year
- Last Man On Earth
- Comet
- Take A Look
- I Always Knew
- Sarah Lynn
- We Swim
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Average customer rating:
|
Last Man on the Earth
Relayer Manufacturer: Musea Records ProductGroup: Music Binding: Audio CD General
| Rock
| Styles
| Music
Pop Rock
| Pop
| Styles
| Music
Rock
| Imports
| Stores
| Music
ASIN: B00004VRDP Release Date: 2001-01-01 |
Average customer rating:
|
Teething Fashion
Relayer Manufacturer: Musea Records ProductGroup: Music Binding: Audio CD General
| Rock
| Styles
| Music
ASIN: B00004VRDO Release Date: 2006-07-28 |
|
Average customer rating:
|
Relayer
Youngsbower Manufacturer: Vhf Records ProductGroup: Music Binding: Audio CD General
| Rock
| Styles
| Music
Pop Rock
| Pop
| Styles
| Music
ASIN: B00006YXGL Release Date: 2002-11-26 |
Tracks:
- Eagle Like A Fly
- Pink Sky Blossom
- Iridescent Hosedown
- Welding The Sea
- Moonlight Loe Pink
- Stream Entrant
- New Martian Sun Tunnel
- Helicopter Kachina
- Hoedown Modulation
- Opaline Retrieval
- Fly Like An Eagle
Average customer rating:
|
Relayer
Yes Manufacturer: Wea International ProductGroup: Music Binding: Audio CD General
| Pop
| Styles
| Music
Pop Rock
| Pop
| Styles
| Music
General
| Rock
| Styles
| Music
Progressive Rock
| Progressive
| Rock
| Styles
| Music
Album-Oriented Rock (AOR)
| Classic Rock
| Styles
| Music
Rock
| Imports
| Stores
| Music
ASIN: B0000088FS Release Date: 1999-05-25 |
Tracks:
- Gates of Delirium
- Sound Chaser
- To Be Over
Album Details
Japanese version featuring High Definition Digital Rematersing (HDCD), & an LP style slipcase cover.Customer Reviews:
Relayer--somewhere in between greatness and insanity.......2006-10-18
They successfully destroyed the further exploration and cultivation of the art form, but not the spirit of its followers. It was in this climate, though, that Yes's 1974 release, 'Relayer,' was somewhat ignored and shunned. The band did not succeed outright in reuniting its fans (three years later, the release of 'Going for the One' came much closer to this ideal) with 'Relayer,' but they did set down a truly progressive album, ripe with fresh ideas and a totally new direction for the band.
This new direction was fostered somewhat by the recent lineup changes (the exodus of drummer Bill Bruford after 'Close to the Edge' and keyboardist Rick Wakeman's departure after 'Tales'). Drummer Alan White was called in for 'Tales,' and to fill Wakeman's shoes, Swiss-born keyboardist Patrick Moraz was commissioned well into the 'Relayer' project. White, now a seasoned member of the band, gained the confidence to give his best performance on 'Relayer.' And Moraz, a fresh addition, offered a completely different playing style than Wakeman. While Wakeman was steeped in classical, Moraz was much more influenced by jazz.
Now that I have given the facts, it's time for the evaluation segment. I must respectfully disagree with many of the reviewers of this album in that I personally do not like Patrick Moraz's work. Considering the matter at length, I find the parts about the album I consistently dislike are the keyboard lines. The synthesizer programming is universally awful; most of the time it sounds like helium escaping from a balloon. Also, Moraz uses almost all synthesizers, the Mellotron is often swallowed in the mix, and the Hammond organ is almost nonexistent. The latter two are things I miss from the band's earlier albums; even Tony Kaye on the very early albums was proficient in the usage of the Hammond organ. The Hammond, I believe, was integral to the band's sound. And Rick Wakeman's classical sensibilities kept his contributions within the bounds of reason, whereas Moraz's work is rather grating and irritating. Finally, Wakeman's synthesizer programming--though sometimes staid--had a warm and organic feel to it, something which I sorely miss on 'Relayer.' While it is true that this album is indeed one of noticibly less absolute structure than the previous efforts, and while certainly its sound is rougher and harder, I think some sort of solid base was needed, and the keyboards would have been where I would have placed it.
As far as Alan White, I agree with most people (including Bill Bruford himself): He just doesn't quite measure up to Bruford, though he is very good. Of course some of that may well be the somewhat flat production of this album (which was recorded in some sort of mobile studio), but it seems as though the life and breath the drumming had when Bruford was at the sticks has vanished in favor of a more "backseat" style of drumming. The remarkable thing about Yes is that, on the three albums from 1971 ('The Yes Album') to 1972 ('Fragile' and 'Close to the Edge'), no member of the band ever served simply as background. Most bands subjugate the rhythm section to a mere continuo, but not Yes. Each member of the band stood out at some point or other in the music. White, for all his efforts, sort of fades into the background in a way that Bill Bruford never did.
The remaining members of the band perform brilliantly as ever. Jon Anderson's vocals are truly first-rate, Steve Howe gives what is perhaps his most daring technical performance all throughout the album, and Chris Squire's trademark Rickenbacker--muted a little in this album--is present as ever. Overall the musicianship of the band is sterling, perhaps better than at any point or lineup in the band's existence. I will never dispute that 'Relayer' is the most technically-advanced Yes album, and I will venture to argue that it is the most technically-advanced album in all of music.
But technical skill, dazzling as it may be, is not everything in music.
As far as the album itself, I wouldn't proclaim as some have that it is Yes's greatest achievement. On the whole, it's somewhat less musical than most Yes music and a great deal denser and harder to appreciate. It's also somewhat darker lyrically than the generally sunny material put out by the band in the past. The first track is by far the best, and the next two just don't strike me as anywhere near as brilliant as some people find them. In fact, I find the second track nearly unlistenable, especially the frenzied "Cha cha cha!" part near the end. It is for the comparatively lacking status of these two tracks, along with the awful keyboards, that I only give the release four stars. There is brilliant material on 'Relayer,' but I believe some of it could have been presented and developed much better.
For the most part, the entire album is a clear departure from the earlier releases. It does not entirely lack structure as some people might at first believe; rather, the structure of each track is held together much more loosely then in the conventional sense and mostly by the format of the song, not the actual music itself. This will take some acclimation, and all through this album one perceives the opposing forces of greatness and insanity battling it out, each with the ultimate goal of prevailing. Throughout, a tenuous balance between the two is upheld.
I will now comment exclusively upon the first track, "The Gates of Delirium."
This song will take a great deal of listening in order to appreciate. Most people who first listen to it will find themselves wishing it to be over around about the ten-minute mark. Of all the Yes I have sampled (everything from the debut up through this album, and then some of their later material), "Gates" by far took me the longest time to like. And, unlike any other Yes song I have ever heard, I utterly hated "Gates" the first three or four times I tried it. It is the wildest, most cacophonic piece of music ever recorded, I venture to say.
So why did I keep listening to it? Well, I did spend a decent amount of money on the album, and if I had just left it on the rack collecting dust, all I would have had to show for it would have been perhaps one of the prettiest album covers Roger Dean ever produced. Also, I refused to believe something that appealed so little to me could possibly have generated so much acclaim among progressive rock fans. Obviously the music was very difficult to get into, and I decided to confront the challenge with repeated listening.
I won, so to speak, because I have discovered the magic of this track. The comparison that is made most often is between "The Gates of Delirium" and "Close to the Edge." My opinion on the matter has changed with repeated listening to both, and I must now submit that I honestly cannot decide which of these phenominal epics is better. I suppose it depends upon the day on which you ask the question, so for all practical purposes, to me it's a tie.
"Gates" carries the listener through one of the most engrossing musical journeys ever composed. The basic story is that of a war, and then the silence which follows the fighting. The story is told through both the words and the music, which is a trademark facet of Yes music since 'Close to the Edge.' The ending sequence, excised as the single "Soon," is breathtakingly beautiful. It only really shines with all its might when absorbed just after the brain-shattering cacophony of the "War of the Instrumentalists" that comes just before it in the music. After that intensity, one feels as though he had actually been part of the battle, and now that it's over, the sun is shining down in vivid shafts through the clouds. And, up in the sky, the gates of Heaven are opening and spreading eternal warmth and beauty over the war-torn landscape. The delirium of war is replaced with the glimmering, soul-fulfilling advent of inner peace. It will give you chills.
All in all, this album is experiencing a revival insofar as appreciation. And I believe it deserves it; it was underrated in the beginning, and it is now finally seeing its due. However, I would recommend 'Relayer' to only a very select group of people. Devoted Yes fans (or is it Yesfans) probably already have this album in one form or another, and if not, what are you waiting for? I would definitely not start with 'Relayer' if you are new to the band or to progressive rock in general. 'The Yes Album' (1971), 'Fragile' (1972), and 'Close to the Edge' (1972) (and in that order) would be your best bet. If you like what you hear, you will (eventually) like 'Relayer.' Basically, this is a fans' album. Casual listeners probably shouldn't waste their time on this one. I'm not trying to be condescending; I'm just trying to save you some time and money.
Yes at their dramatic best........2002-05-19
Yes, there is the odd and rare subtle drop-out and some (i say SOME) good old analog tape noise (it was recorded in a make-shift studio after all) but if you like the music - you won't give a hoot!?!
Having said this - if you would like to hear this classic album with good dynamic range, sharper stereo imaging and generally improved sonic detail then this is a good as it gets.
In my opinion it's better than the 1994 version.
Warts and all - it's YES's decent into the inferno and it still rocks to this day.
Yes at their dramatic best........2002-05-19
Yes, there is the odd and rare subtle drop-out and some (i say SOME) good old analog tape noise (it was recorded in a make-shift studio after all) but if you like the music - you won't give a hoot!?!
Having said this - if you would like to hear this classic album with good dynamic range, sharper stereo imaging and generally improved sonic detail then this is a good as it gets.
In my opinion it's better than the 1994 version.
Warts and all - it's YES's decent into the inferno and it still rocks to this day.
Japanese Import Flawed!.......2002-04-10
There's a manufacturing flaw in "To Be Over" on the word "wander".
It sounds like a weak spot on the tape where one side has a little quiver. You might not notice it unless you use headphones.
At such a climactic point in the music, I regard that flaw as very significant. And it negates the value of the "High Definition" remastering.
Plus, there's a loud hum which ruins the endings. I suppose that hum is on the original tapes, but the Atlantic remaster has the endings trimmed so you don't hear it.
Listen to this during a thunderstorm.......2000-09-29
Average customer rating:
|
Relayer
Yes Manufacturer: Wea ProductGroup: Music Binding: Audio CD General
| Pop
| Styles
| Music
Pop Rock
| Pop
| Styles
| Music
General
| Rock
| Styles
| Music
Progressive Rock
| Progressive
| Rock
| Styles
| Music
Album-Oriented Rock (AOR)
| Classic Rock
| Styles
| Music
Rock
| Imports
| Stores
| Music
Similar Items:
ASIN: B00005LK1R Release Date: 2001-07-31 |
Tracks:
- Gates of Delirium
- Sound Chaser
- To Be Over
Album Description
Part of the 'Yes Original Jacket Series'. Japanese limited edition HDCD remastered reissue of 1974 album, packaged in a miniature LP sleeve.Album Details
Japanese Limited Edition Release featuring an LP Style Slipcase Cover. Hdcd Digitally Remastered.Customer Reviews:
Relayer--somewhere in between greatness and insanity.......2006-10-18
They successfully destroyed the further exploration and cultivation of the art form, but not the spirit of its followers. It was in this climate, though, that Yes's 1974 release, 'Relayer,' was somewhat ignored and shunned. The band did not succeed outright in reuniting its fans (three years later, the release of 'Going for the One' came much closer to this ideal) with 'Relayer,' but they did set down a truly progressive album, ripe with fresh ideas and a totally new direction for the band.
This new direction was fostered somewhat by the recent lineup changes (the exodus of drummer Bill Bruford after 'Close to the Edge' and keyboardist Rick Wakeman's departure after 'Tales'). Drummer Alan White was called in for 'Tales,' and to fill Wakeman's shoes, Swiss-born keyboardist Patrick Moraz was commissioned well into the 'Relayer' project. White, now a seasoned member of the band, gained the confidence to give his best performance on 'Relayer.' And Moraz, a fresh addition, offered a completely different playing style than Wakeman. While Wakeman was steeped in classical, Moraz was much more influenced by jazz.
Now that I have given the facts, it's time for the evaluation segment. I must respectfully disagree with many of the reviewers of this album in that I personally do not like Patrick Moraz's work. Considering the matter at length, I find the parts about the album I consistently dislike are the keyboard lines. The synthesizer programming is universally awful; most of the time it sounds like helium escaping from a balloon. Also, Moraz uses almost all synthesizers, the Mellotron is often swallowed in the mix, and the Hammond organ is almost nonexistent. The latter two are things I miss from the band's earlier albums; even Tony Kaye on the very early albums was proficient in the usage of the Hammond organ. The Hammond, I believe, was integral to the band's sound. And Rick Wakeman's classical sensibilities kept his contributions within the bounds of reason, whereas Moraz's work is rather grating and irritating. Finally, Wakeman's synthesizer programming--though sometimes staid--had a warm and organic feel to it, something which I sorely miss on 'Relayer.' While it is true that this album is indeed one of noticibly less absolute structure than the previous efforts, and while certainly its sound is rougher and harder, I think some sort of solid base was needed, and the keyboards would have been where I would have placed it.
As far as Alan White, I agree with most people (including Bill Bruford himself): He just doesn't quite measure up to Bruford, though he is very good. Of course some of that may well be the somewhat flat production of this album (which was recorded in some sort of mobile studio), but it seems as though the life and breath the drumming had when Bruford was at the sticks has vanished in favor of a more "backseat" style of drumming. The remarkable thing about Yes is that, on the three albums from 1971 ('The Yes Album') to 1972 ('Fragile' and 'Close to the Edge'), no member of the band ever served simply as background. Most bands subjugate the rhythm section to a mere continuo, but not Yes. Each member of the band stood out at some point or other in the music. White, for all his efforts, sort of fades into the background in a way that Bill Bruford never did.
The remaining members of the band perform brilliantly as ever. Jon Anderson's vocals are truly first-rate, Steve Howe gives what is perhaps his most daring technical performance all throughout the album, and Chris Squire's trademark Rickenbacker--muted a little in this album--is present as ever. Overall the musicianship of the band is sterling, perhaps better than at any point or lineup in the band's existence. I will never dispute that 'Relayer' is the most technically-advanced Yes album, and I will venture to argue that it is the most technically-advanced album in all of music.
But technical skill, dazzling as it may be, is not everything in music.
As far as the album itself, I wouldn't proclaim as some have that it is Yes's greatest achievement. On the whole, it's somewhat less musical than most Yes music and a great deal denser and harder to appreciate. It's also somewhat darker lyrically than the generally sunny material put out by the band in the past. The first track is by far the best, and the next two just don't strike me as anywhere near as brilliant as some people find them. In fact, I find the second track nearly unlistenable, especially the frenzied "Cha cha cha!" part near the end. It is for the comparatively lacking status of these two tracks, along with the awful keyboards, that I only give the release four stars. There is brilliant material on 'Relayer,' but I believe some of it could have been presented and developed much better.
For the most part, the entire album is a clear departure from the earlier releases. It does not entirely lack structure as some people might at first believe; rather, the structure of each track is held together much more loosely then in the conventional sense and mostly by the format of the song, not the actual music itself. This will take some acclimation, and all through this album one perceives the opposing forces of greatness and insanity battling it out, each with the ultimate goal of prevailing. Throughout, a tenuous balance between the two is upheld.
I will now comment exclusively upon the first track, "The Gates of Delirium."
This song will take a great deal of listening in order to appreciate. Most people who first listen to it will find themselves wishing it to be over around about the ten-minute mark. Of all the Yes I have sampled (everything from the debut up through this album, and then some of their later material), "Gates" by far took me the longest time to like. And, unlike any other Yes song I have ever heard, I utterly hated "Gates" the first three or four times I tried it. It is the wildest, most cacophonic piece of music ever recorded, I venture to say.
So why did I keep listening to it? Well, I did spend a decent amount of money on the album, and if I had just left it on the rack collecting dust, all I would have had to show for it would have been perhaps one of the prettiest album covers Roger Dean ever produced. Also, I refused to believe something that appealed so little to me could possibly have generated so much acclaim among progressive rock fans. Obviously the music was very difficult to get into, and I decided to confront the challenge with repeated listening.
I won, so to speak, because I have discovered the magic of this track. The comparison that is made most often is between "The Gates of Delirium" and "Close to the Edge." My opinion on the matter has changed with repeated listening to both, and I must now submit that I honestly cannot decide which of these phenominal epics is better. I suppose it depends upon the day on which you ask the question, so for all practical purposes, to me it's a tie.
"Gates" carries the listener through one of the most engrossing musical journeys ever composed. The basic story is that of a war, and then the silence which follows the fighting. The story is told through both the words and the music, which is a trademark facet of Yes music since 'Close to the Edge.' The ending sequence, excised as the single "Soon," is breathtakingly beautiful. It only really shines with all its might when absorbed just after the brain-shattering cacophony of the "War of the Instrumentalists" that comes just before it in the music. After that intensity, one feels as though he had actually been part of the battle, and now that it's over, the sun is shining down in vivid shafts through the clouds. And, up in the sky, the gates of Heaven are opening and spreading eternal warmth and beauty over the war-torn landscape. The delirium of war is replaced with the glimmering, soul-fulfilling advent of inner peace. It will give you chills.
All in all, this album is experiencing a revival insofar as appreciation. And I believe it deserves it; it was underrated in the beginning, and it is now finally seeing its due. However, I would recommend 'Relayer' to only a very select group of people. Devoted Yes fans (or is it Yesfans) probably already have this album in one form or another, and if not, what are you waiting for? I would definitely not start with 'Relayer' if you are new to the band or to progressive rock in general. 'The Yes Album' (1971), 'Fragile' (1972), and 'Close to the Edge' (1972) (and in that order) would be your best bet. If you like what you hear, you will (eventually) like 'Relayer.' Basically, this is a fans' album. Casual listeners probably shouldn't waste their time on this one. I'm not trying to be condescending; I'm just trying to save you some time and money.
First Reviewer of The Best Progressive Album of all Times.......2001-10-10
This is a formal clon of Close to The Edge. Anderson, Howe and Squire are at their best ever. Allan White's job is perfect, as he'd feeling genuine part of the band surpassing the Tales test of substituing Bruford. Rick Wakeman was replaced by Patrick Moraz that reaches the best performance of his life, with a perfect domain over new synth timbres that revitalizes the band. The general sound quality of this album is also incredible.
The Gates of Dellirium is the story (both words and music) of a tribe pushed to deffensive battle, which they finally win saving their lives and consolidating their collective values. There are three moments through the piece: normal life, war and final hopeful peace.
To be Over is the calm one (remember And You & I), melting the Howe's usual effects and glide with the smooth but rich synths introduced by Moraz.
Sound Chaser recovers the nerve but under a much more free form that Siberian Kathru, and the solo electric piano of the opening and the synth in the end are real masterpieces.
At this point Yes begins his decadence, surely because of the reappearance of crude simple rock brought by punk, new wave, raggae and those trends that The Police will unify with great talent. I presume if you're reading this is because you love progressive music and not Michael Jackson or Christina Aguilera.
Exception made of Turn of the Century, Awaken, Future Times-Rejoice and Release-Release (and with some extra indulgence also Wonderous Stories, Madrigal and ABHW) the group would never get too high.
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- Relics [Original recording remastered]
- Roxy & Elsewhere [Original recording remastered] [Live]
- Shifting Gears [Enhanced] [Explicit Lyrics]
- Silver Lining
- Son of a Son of a Sailor
- Speak of the Devil
- Steppin' Out/Very Best of Joe Jackson
- Street Survivors [Original recording remastered]
- Surrender Dorothy
- The Best of Focus: Hocus Pocus [Original recording remastered] [Import]
Recommended Music:
Under the Ragtime Moon [Import]
The Great Milenko [Explicit Lyrics]
The People Empowered to Win Crusade [Live]
There Is No-One What Will Take Care of You
The Lonesome Death of Electric Campfire
Under the Water [CD-single] [Import]