Today's Rediscovery is an anomaly in the catalog of one of progressive rock's most innovative groups of the late 1960s/early '70s, and how better to experience it than with Steven Wilson
's upgraded 2014 stereo (and 5.1 surround sound) remix, as the former Porcupine Tree frontman nears the release of his own Hand. Cannot. Erase.
But back to Relayer
. Wilson has described Lizard
(DGM Live, 1970)the first of his run of King Crimson
remixes, part of that group's ongoing 40th Anniversary Series
as "the album that stereo couldn't contain." The same might be said for Relayer
, in particular its side-long opus, "The Gates of Delirium," quite possibly the densest and most complex piece of writing Yes has ever released, and certainly one of its most musically aggressive...and, ultimately, most beautiful.
While Wilson's remix of this 22-minute opus manages, as always, to reveal its multifaceted layers with greater clarity, it must have been something of a challenge; while drummer Alan White's playing on this track (along with the two other lengthy songs that made up side two of the original vinyl edition) is some of his absolute best with the group, the sound of his kit is marred by being boxy, his cymbals mushy. Progressive fans love to compare White to previous drummer, the sharp-snared and richly tuned drummer Bill Bruford
, and there's good reason for it: Bruford was one of the significant components that gave the original Yes lineup its most unique complexion, along with bassist Chris Squire's at times thundering, at times grounded and at yet other times contrapuntally melodic bass playing; Jon Anderson's pure upper register voice; and the endlessly inventive Steve Howe
a guitar hero who, at the time, seemed literally capable of playing anything, and who was recruited after the summarily dismissed Peter Banks for The Yes Album
(Atlantic, 1970), which Wilson also remixed for Panegyric in 2014.
But the fifth member of the classic Yes lineup, keyboardist Rick Wakeman, had left the band after touring the band's previous album, the four-part, 80+ minute Tales from Topographic Oceans
(Atlantic, 1973), having been given far less freedom and input compared to the previous high watermark, Close to the Edge
(Atlantic, 1972), which Wilson remixed, again for Panegyric, in 2013. Freelance scribe Sid Smith, in his revealing liner notes to Wilson's Relayer
remixwhich includes, in particular on the CD/Blu Ray edition, a variety of bonus features including single edits, studio run-through and live versions along with original mixes (including needle drops from original vinyl), instrumental versions and moretells the story of how Patrick Moraz became Yes' third keyboardist (after Wakeman and founding member Tony Kaye) in something of a trial by fire.
After the Swiss keyboardist had set up at his first meeting with the group"improvising, showing a bit of my speed and ability"the band took him through the song portion of what would ultimately become the closest Yes ever got to jazz fusion, "Soundchaser," and Anderson asked him "what I might offer as an introduction to the piece?" As Moraz continues to recount in the liner, "I instantly played the theme as it appeared on the record"and, as Smith describes, "everyone in the room was immediately galvanized by what they heard" and, after some discussion and multiple takes, as Moraz says, "we recorded the introduction in a take that was used on the finished album, before I was formally offered the job!"
Needless to say, Moraz got the job and, after delivering a Moog solo on the same song that stands as one of Yes' finest moments, finished the album and hit the road with the group. That he didn't lastWakeman would return for Going for the One
(Atlantic, 1977)has long been one of the questions about where, with Moraz's more jazz-tinged approach, the group might have gone. We'll never know, and what is perhaps most remarkable is that "Soundchaser" is really his only main feature, though he does get a short solo on the album-closing "To Be Over."
The rest of the record is dominated by Howe who, by switching to a sharper and more suitably aggressive-toned Fender Telecaster for the album, did his part to change the group's complexion, even as Squire was also playing at the absolute top of his game and Anderson sang more passionatelyand, lyrically, more directlythan ever before. An even more incendiary live version of "Gates of Delirium" on the 1980 live album Yesshows
may be marred by a poor mix, but it features Anderson at his most powerful, even adding an appropriate harshness to his voice that might have been intentional or might have been the result of too many nights on the road...but remains a high performance point for the singer during Yes' best years.