In May 1974, after the Tales from Topographic Oceans tour in support of their ambitious double album Tales from Topographic Oceans (1973) ended, keyboardist Rick Wakeman decided to leave YES as he could not understand its concept and disagreed with the musical direction the band took. The band’s line-up during this time included singer Jon Anderson, bassist Chris Squire, guitarist Steve Howe, and drummer Alan White.

While the band started writing and rehearsing for Relayer, several keyboardists were auditioned including Greek musician Vangelis. At the suggestion of music journalist and author Chris Welch, the band invited Swiss-born Patrick Moraz of Refugee to a try out session at Squire’s home in August 1974. Moraz used Vangelis’s keyboards for his first session. The band liked what he did, and Moraz subsequently joined full time.

Relayer was recorded between August and October 1974 at New Pipers, Squire’s then home in Virginia Water, Surrey that he bought in 1972. This marked the first time YES had recorded a studio album outside of London. Eddy Offord assumed his role as the band’s engineer and moved his recording equipment into the garage to make a temporary studio. The album’s production duties were shared among Offord and the group. The album was then mixed at Advision Studios in London.

The album’s sleeve was designed and illustrated by English artist Roger Dean, “I was playing with the ideas of the ultimate castle, the ultimate wall of a fortified city. That was more of a fantastical idea. I was looking for the kinds of things like the Knights Templar would have made or what you’d see in the current movie Lord of the Rings. The curving, swirling cantilevers right into space.”


Jon Anderson

Alan White

Steve Howe
Guitars, Vocals

Chris Squire
Bass, Vocals

Patrick Moraz

Recommended Versions

Steven Wilson 2013 Stereo & 5.1 Remixes for Panegyric

The Definitive Edition. It doesn’t get better than this. All the mixes are presented in better-than-CD-quality Audiophile 24-96 HD Audio and have been approved by the band. Both editions include a 20 page booklet featuring previously unseen artwork by Roger Dean, an essay by Sid Smith and additional photos and memorabilia. Available at Amazon on BluRay+CD (with more extras) or DVD-A+CD.

This is the only version of Relayer to have been completely remixed from the original multitrack tapes since 1972. In keeping with all the other releases in this series, Steven Wilson’s approach for new stereo & 5.1 mixes is to faithfully retain the spirit & sounds of the original album mix, while applying modern mix techniques to bring further clarity to the individual instrument, vocal & overdubs for each track. The songs, instantly familiar to a multitude of Yes fans, remain so, with the new mixes – especially in 5.1 form – providing a greater sense of space for each voice to be heard. Anderson’s voice seems to join the listener in the room, Howe & Wakeman’s solos glisten with clarity and White & Squire remind all that they were unmatched as a rhythm section during that period.

☟See Contents & Extras

Brand new ‘Definitive’ Steven Wilson Remixes in 24-96 HD Audio in 5.1 Surround and Stereo.
The original 1974 Eddy Offord mix recorded directly from the original master tape with no additional EQ.
A complete ‘Alternate Album’ made up of alternate studio run-throughs of the album tracks.

Single edits of ‘Soon’ and ‘Sound Chaser’

Extras for BluRay Edition only:
Demo and live recordings of Sound Chaser.
The 2014 Stereo Instrumental Mixes.
Needle drop of an original UK pressing of the album.
Needle drop of an original US ‘Promo Album’.

☝ Hide Contents & Extras

Dan Hersch & Bill Inglot 2003 Stereo Remasters for Warner Music UK/USA

Relayer Remastered in 2003 from the master tape of the original 1972 Eddy Offord mix.
Available as:
HD 24-192 or 24-96 Downloads at HD Tracks
Gatefold CD at Amazon
Vinyl LP as per original release at Amazon
MP3 Downloads at iTunes (Standard Edition, Mastered for iTunes), iTunes (Deluxe Edition), 7 Digital
Streaming at Apple Music, Spotify, Deezer, Tidal
This Remaster of Relayer is also available as part of the ‘Studio Albums 1969-1987‘ Box Set at Amazon.
The Box Set contains the following remastered albums with bonus tracks: Yes, Time and a Word, The Yes Album, Fragile, Close to the Edge, Tales from Topographic Oceans, Relayer, Going for the One , Tormato, Drama, 90125, Big Generator. Each individual album comes in a gatefold sleeve that replicates the original LP packaging.

Isao Kikuchi 2013 Stereo Remasters for Warner Music Japan

Relayer is also available as part of the High Vibration SACD Box Set at Amazon.
High Vibration is a 16 x Hybrid SACD Box Set made for the Japanese fans, containing their first 13 albums on 15 discs plus a bonus disc of extra tracks. All Remastered by Isao Kikuchi at 24-96 & 16-44.1 with a 220 page book in Japanese.
Albums: Yes, Time and a Word, The Yes Album, Fragile, Close to the Edge, Yessongs, Tales from Topographic Oceans, Relayer, Going for the One , Tormato, Drama, 90125, Big Generator and a Bonus Disc.
Bonus Disc: Something’s Coming, Dear Father, Roundabout (Single Edit), America, Total Mass Retain (Single Version), Soon (Single Edit), Abilene, Run Through The Light (Single Version), Run With The Fox, Owner Of A Lonely Heart (Move Yourself Mix), Leave It (Single Remix), Big Generator (Remix).


Steven Wilson Remixes

For best quality audio playback, press the play button (the ► in the middle of the window) and then set the YouTube quality to 1080p HD by clicking the ‘Settings’ cog at the bottom right of each window.


Dan Hersch & Bill Inglot 2003 Stereo Remasters

Relayer - by Sid Smith

Patrick Moraz
August 1974: Patrick Moraz was drinking a cup of tea and waiting for YES to arrive at their rural rehearsal room. The Swiss keyboard player who’d made an impact on the music scene the previous year with ex-The Nice outfit Refugee had been invited to attend a “rehearsal”, as YES manager Brian Lane had somewhat coyly put it. Of course, Moraz knew this was in fact an incredible opportunity for an ambitious player who also happened to have been a fan of the band since their 1969 debut.

“I was talking with the road crew who: were looking after the place and as I looked out across the field I saw Alan White in his sports car – it was a special customised thing,” recalls Moraz. “Then Steve arrived in his metallic blue Bristol sports car, driven by his roadie. Then Jon came in an old-fashioned and rare Bentley, and then Chris arrived in what I think was a Rolls Royce Silver Cloud. For me, coming from Refugee, where we had been walking three miles to and from our rehearsal place in Bayswater, I can tell you it was quite a contrast!” It’s interesting to speculate which other keyboard player at – the time could have fitted the bill in YES. After Rick Wakeman’s much-publicised split with the band, the space amidst the array of keyboards was one of the most visible spots on the concert stage in the 1970s.

Under Wakeman, playing keyboards with YES had evolved into a role subjected to intense scrutiny and expectation from the band, critics and fans alike. Before Moraz, ex-Aphrodite’s Child member Vangelis Papathanassiou spent time with the band but the partnership failed to gel. Given his flamboyant playing style, deep musical knowledge and expertise at arrangements, not to mention his ebullient stage presence – he was not averse to hauling out a 13ft alpine horn and blowing a fanfare out of it – Moraz really was the obvious choice all along.

As the musicians assembled in the rehearsal room, Moraz was struck by the way nobody seemed to be in any kind of hurry to get started as they sat back, chatted, smoked and drank tea. “I tuned the instruments before we started playing together and that gave me an opportunity to play around this keyboard that Vangelis had used while the guys were getting ready. I was improvising, showing a bit of my speed and ability, and they stopped talking and all gathered around the electric piano and the Moog to watch and listen. I played all sorts of things, including a little bit of And You And I. To be honest, I think I got the gig at that point before we’d even played a note together.”

Moraz recalls when they started playing they took him through the song section of Sound Chaser. “They played it at an unbelievable speed that defied all logic! I was flabbergasted. Then Jon asked me what I’d offer as an introduction to the piece. I instantly played the opening theme as it appears on the record.” Everyone in the room was immediately galvanised by what they heard, asking Moraz to explain what he’d done, clearly keen to incorporate it into the piece. “I explained the rhythm to Alan and Chris so they could work out the answer to the keyboard’s call, as it were. I even suggested to Jon that he use his flute, to which I could play these little fast clusters.” It was Eddie Offord’s practice to record everything on the mobile 24-track studio in the room thus ensuring not a moment was lost. “We did a few takes, starting slowly and then getting it up to required speed and then we recorded the introduction in a take that was used on the finished album, before I was formally offered the job!” Later that night a telephone call from YES‘ management confirmed Patrick Moraz as the third keyboard player in the band’s history.
sound chaser label

Moraz worked closely with Anderson on the development of the singer’s ideas. “I started going to see Jon a few times in his house near Notting Hill Gate. He worked with me by very carefully singing the melodies to me. Nothing was written down. Lyrics, melodies, accents, dynamics – he had everything in his head and his heart.”

Anderson’s musical concepts for The Gates Of Delirium took all of his considerable powers of persuasion to convince the rest of the band that the piece was viable.

“My main focus at the time was to have a complete idea before I showed it to the band,” says Anderson. “I played most of it on the piano and it must have sounded very strange and not too musical to the guys, as I didn’t play well at that time. But I seemed to know how each section, and why it could work as a whole. So I was very happy when they decided to take it on.”

There was always an element of cajoling and exhorting the others to follow a musical line of inquiry, suggests Anderson. “The ideas would come to me very fast, and structure was something that I was learning about at the time. So I’d always be one step ahead of the guys while they were learning the last part, I’d be on to the next part, sort of leading the way; this is where we’re going, this is how we’re going to do it, and give it a shot. Maybe it’ll work, it might not, but let’s give it a shot. Recording the battle scene was a bit chaotic at the time, and I just saw this giant energy being formed out of the darkness of war, into the light; soon oh soon the light at the end of the tunnel. I wanted everyone to play keyboards for that part of the work but it never happened.”

War and Peace
Though much is made about the ambiguity of Anderson’s lyrics throughout his tenure in the band, the words to Relayer in general and The Gates Of Delirium in particular are arguably the most straightforward up to that point in the YES catalogue, albeit presented in Anderson’s idiosyncratic syntax. Alongside his reading of Tolstoy’s monumental novel, War and Peace, the momentous events of the times fed into Anderson’s ideas for a suite dealing with the psychology of power and ideology left unchecked: “It was still a very sad time with the Vietnam mess lingering in my mind and the Cold war. There just seemed no end to the cycle of warmongering around the world.”
Recorded at Chris Squire’s home studio, Relayer contains one of Anderson’s most spine-tingling performances. Beyond the instrumental turbulence and explosive final of Gates, the vocalist delivers a remarkable closure to a truly adventurous piece. That said, Anderson admits to a degree of disappointment that the effect he strove for in the studio was never quite achieved: “It worked better on stage.” Of the performance itself, he merely says the final take was all about “just letting go and letting the inner voice sing.”
Chris's Studio

As the newest member of YES, Moraz embarked on a steep learning curve, not only assimilating the material being developed for Relayer, but the YES repertoire he was required to play out on the road. “At night when I used to come back from rehearsals, I used to write down on huge pieces of paper of all these symphonies – I’m calling them symphonies in an etymological sense because the arrangements didn’t just have melodic and lyrical content, everything with YES seems to be contrapuntal and harmonic. In the counterpoint it changes radically and very dynamically – that’s what makes YES so unique; everything is encompassed in the arrangement and every note is absolutely critical.” After learning all their parts, Moraz states he has nothing but the utmost respect for the detailed work of the keyboard players preceding him.

Moraz's Minimoog
While much of Moraz’s work on the album is concerned with subtle colouring and texturing, his Minimoog solo on Sound Chaser is a break-out moment of jaw-dropping dexterity and melodic invention. “I did two takes. The one main take and another compliment it. The first take was edited in half and the second take was edited in. Whenever I hear it I can always point out the join! I would have preferred to have refined that edit but I didn’t have a strong enough say in the production as I would have liked. You have to remember I was still brand new and I didn’t dare say too much.”
The urgency and sheer velocity of the music transferred itself to the production schedule. As soon as mixing was completed at Advision Studios in October, the band decamped to America to embark on a sold-out tour in early November. With a set list that took in all of Close To The Edge, as well sides from Tales from Topographic Oceans, the new album was given the prime slot following the strains of Stravinsky’s Firebird Suite. “Sound Chaser was always a blast to perform; says Anderson. Such was the momentum of the band at that point that audiences eagerly embraced the new material, ensuring it secured slots in the top five of the album charts on both sides of the Atlantic when it was released in the winter of that year. With Relayer riding high, YES were greeted as conquering heroes in what amounted to a vast triumphal procession around North America and, later, Europe.

YES had always required their listeners to take a leap of faith, calling upon them to follow the group into uncharted or at least uncertain territories. Though significantly shorter than its predecessor, Relayer is just as multi-faceted and in its own way just as much of a challenge.


The world Relayer inhabits includes many recognisable features, the most obvious being Roger Dean’s striking cover artwork, but it also included some of their most angular music up to that point. From The Yes Album through to Tales from Topographic Oceans, the band’s progress and capacity to assimilate and harness the differing ideas and influences appears measured and incremental, each one building upon the Successes and lessons learnt from its predecessors. In this context. Relayer is perhaps the most radical of them all. While structurally resembling the three-track running order of Close To The Edge, such echoes are merely coincidental, says Anderson. The adoption of an overtly jazz-rock vocabulary that wouldn’t have sounded out of place in Return To Forever or Bundles-era Soft Machine adds to a sense of newness.

© Retna Ltd.
However, in addition to opening up new rhythmic seams, perhaps more than anything it’s Howe’s choice of Telecaster as his principal instrument that lends Relayer its distinctive and starkly assertive qualities, pushing YES away from its plushly orchestrated comfort zone. From the penetrating jabs prior to the Listen sequence and the galloping solo in the battle section of The Gates Of Delirium, to the dazzling cadenza that erupts during Sound Chaser, Howe strikes out beyond his masterly touch of light and shade, cutting through the layered arrangements with unparalleled aggression. At the other end of the sonic spectrum, his use of pedal steel guitar smartly appropriated the aching qualities of an instrument more traditionally associated with country music. Its fluidity perfectly articulates the emotional yearning underlying the final coda of Gates and, in To Be Over, adds depth and warmth. As well as harbouring YES‘s gentler inclinations and its resemblance to the grandeur of And You And I, it also points toward elements that would later inform Awaken.
Relayer also sees Squire’s muscular combination of driving both time and melody simultaneously make for exhilarating listening. At almost any point on the album his playing ascends lyrical heights (especially his use of Fender bass on To Be Over) and swoops down into the very substance of the pieces, often switching between these two modes within the space of a few bars. If Tales from Topographic Oceans saw Alan White being thrown in at the deep end, with Relayer he consolidated and confirmed his position as a creative force in his own right. His work here represents a significant leap forward not only as a composer but as a featured instrumentalist. The minute-long dialogue between the drummer and Moraz at the start of Sound Chaser brilliantly ramps up the impact and excitement of the track.
Chris Squire

Looking back, Anderson confesses that in the overall canon of YES albums, Relayer was never one of his favourite recordings, though as he points out, not necessarily because of the material. “The finished mix never sounded as good as when we were recording the music. In the battle scene we had so much happening musically and sonically, we needed surround sound to realise the concept. Forty years after it was released, Relayer can now be heard the way Jon Anderson envisaged it. Proof once again that time and patience are indeed the strongest of all the warriors.

Sid Smith
Whitley Bay, August 2014

Sid Smith is a freelance music writer and author of numerous sleeve notes. A regular contributor to Prog magazine, BBC Music and other publications, he is also the author of In The Court of King Crimson and Northstars. You can find out more at


Click on the song title to view the lyrics.


Stand and fight we do consider
Reminded of an inner pact between us
That’s seen as we go
And ride there
In motion
To fields in debts of honour defending

Stand the marchers soaring talons
Peaceful lives will not deliver freedom
Fighting we know,
Destroy oppression
The point to reaction
As leaders look to you attacking

Choose and renounce throwing chains to the floor
Kill or be killing faster sins correct the flow
Casting giant shadows off vast
Penetrating force
To alter via the war that seen
As frictions spans the spirits’ wrath ascending to redeem

Wars that shout in screams of anguish
Power spent passion bespoils our soul receiver
Surely we know.
In glory we rise to offer,
Create our freedom, a word, we utter a word.

Words cause our banner, victorious our day
Will silence be promised as violence display
The curse increased we fight the pow’r and live by it by day
Our Gods awake in thunderous roars and guide
The leader’s hands in paths of glory to the cause

Listen should we fight forever
Knowing as we do know
Fear destroys?
Listen should we leave our children?
Listen our lives stare in silence
Help us now

Listen your friends have been broken
They tell us of your poison
Now we know
Kill them give them as they give us
Slay them burn their children’s laughter
On to Hell

The fist will run
Grasp metal to gun
The spirit sings in crashing tones we gain the battle drum
Our cries will shrill the air will moan and crash into the dawn
The pen won’t stay the demon’s wings, the hour approaches
Pounding out the Devil’s sermon

Soon oh soon the light
Pass within and soothe this endless night
And wait here for you
Our reason to be here

Soon oh soon the time
All we move to gain will reach and calm
Our heart is open
Our reason to be here

Long ago, set into rhyme

Soon oh soon the light
Ours to shape for all time, ours the right
The sun will lead us
Our reason to be here

Soon oh soon the light
Ours to shape for all time, ours the right
The sun will lead us
Our reason to be here


Jon Anderson/Steve Howe/Chris Squire/Patrick Moraz/Alan White


Jon Anderson: lead vocals
Steve Howe: acoustic and electric guitars, vocals
Patrick Moraz: keyboards
Chris Squire: bass guitar and vocals
Alan White: drums, percussion


Faster moment spent spread tales of change within the sound
Counting form through rhythm electric freedom
Moves to counter-balance stars expound our conscience
All to know and see
The look in your eyes

Passing time will reach as nature relays to set the scene
New encounters spark a true fruition
Guiding lines we touch them
Our bodies balance out the waves
As we accelerate our days
To the look in your eyes

From the moment I reached out to hold
I felt a sound
And what touches our soul slowly moves as touch rebounds
And to know that tempo will continue lost in trance of dances
As rhythm takes another turn
As is my want I only reach
To look in your eyes


Jon Anderson/Steve Howe/Chris Squire/Patrick Moraz/Alan White


Jon Anderson: lead vocals
Steve Howe: acoustic and electric guitars, vocals
Patrick Moraz: keyboards
Chris Squire: bass guitar and vocals
Alan White: drums, percussion


We go sailing down the calming streams
Drifting endlessly by the bridge
To be over
We will see
To be over

Do not suffer through the game of chance that plays
Always doors to lock away your dreams
Think it over
Time will heal your fear
Think it over
Balance the thoughts that release within you

Childlike soul dreamer one journey
One to seek and see in ev’ry light do open
True pathways away

Carrying closer go gently
Holding doors will open everyway
You wander true pathways away

After all your soul will still surrender
After all don’t doubt your part
Be ready to be loved


Jon Anderson/Steve Howe/Chris Squire/Patrick Moraz/Alan White


Jon Anderson: lead vocals
Steve Howe: acoustic and electric guitars, vocals
Patrick Moraz: keyboards
Chris Squire: bass guitar and vocals
Alan White: drums, percussion


How the World Learned to say YES.

October 1968 looked grim: cold and grey, no hint of Indian summer. That, at least, was how Jon Anderson saw it. After six years of singing and writing and touring, Jon now found himself sweeping up the floor of Soho’s La Chasse Club, sleeping on it too. Frustration, disillusionment, depression such was the atmosphere of Jon’s life that colourless autumn (perhaps of rock music in general) when a happy accident introduced Jon, singer and songwriter and Chris Squire, bass player to each other at La Chasse.

From this sudden encounter YES were born. Lots of work and much more courage, very little time and even less money, were the ingredients that Jon and Chris and their three original musical partners (long since departed to play elsewhere) mixed into the creation of YES. Rehearsing, revising, resounding night after day week in and month out, they knew they had to make or break. Their first public performance, at a South London college was a success. Their first out of town appearance at a Brighton youth club was not. “We died the death,” is the way Chris Squire puts it. Lesser men may be destroyed by rejection, incomprehension, indifference. Better men convert such negative response into the goad to action. And so it was with YES. They simply played on. It was in December 1968 that YES began to take off, not a sensational launch into the deep space of fame, rather a steady ascent toward the stars. YES appeared at The Royal Albert Hall in a supporting spot during the farewell performance of The Cream. This was the most sophisticated audience YES had vet encountered, an audience used to the best and so able to identify it. They identified it in YES, and rewarded the group with deserved attention. So did the press.

In the summer of 1969 YES released their first record. It was appropriately called ‘Yes‘. And the record buying public said “yes,” too. Thereafter, the group began to move a little faster to get around a little more. They were being heard. They were being seen. They toured Ireland. And in December 1969 the glaciers and valleys of Switzerland were reverberating with their live music as YES made their first continental appearance. YES had survived their first year, were playing better than ever, were now in demand. June 1970 saw the departure of the lead guitarist. And so Steve Howe joined YES. Steve was soon astounding audiences with his solo piece “Clap” Before long Steve and Jon were putting heads and hearts together to create the kind of music for which the group have become renowned. This partnership has grown more fertile, more imaginative with the passing years and continues with undiminished creativity today.

YES produced their second record, ‘Time and a Word‘, in 1970, and their third, ‘The Yes Album’, in 1971. By 1971 the group could fill a hall anywhere. In March of that year they undertook their first really intensive tour: America, of course. Upon their return to Britain, their keyboard player left. Then Rick Wakeman, already a star in his own right, joined the group, attracting a wider audience still for YES‘s music. Another record appeared: ‘Fragile‘. Throughout this period the style of YES‘s music had been evolving, becoming more subtle and more complex. With the release of ‘Close To The Edge‘ in 1972, YES were widely acknowledged as a unique and uniquely creative and serious group. 1972 also witnessed the departure of drummer Bill Bruford. At the time this seemed an insufferable blow. The group were on the eve of their second American tour. How could Bill Bruford ever be replaced’? These were days of apprehension, unrelieved tension, for this new tour of America would be critical. It is at moments like this that destiny would seem to stretch out her hand and lead her creatures out of the whirlwind. Alan White sat down at the drums and accomplished something remarkable: he learned the group’s entire repertoire in three days flat and then, exhausted, boarded a plane with YES bound for America. The crisis had been surmounted.

Throughout 1973 YES toured Japan, Australia, America and Britain. As if that was not enough, the group also recorded and released a triple album, ‘Yessongs‘, and ‘Tales From Topographic Oceans‘. At the beginning of 1974 the group were back in America, this time even packing Madison Square Garden. Not content to rest, they toured Europe once more. Both tours were superbly staged with sets designed by Roger Dean, who had been creating the group’s record covers since ‘Fragile‘.

In June 1974 Rick Wakeman decided to leave the group, pursuing the rewards of a solo career. And so it was that Patrick Moraz became a member of YES. Patrick is a versatile musician who plays the violin, organ, piano, harpsichord and (of all things) the alpine horn. Although Patrick was born on an aeroplane, he came down to earth in Switzerland and so is the only non British member of the group. Today YES are acclaimed throughout the world. They stand apart from trends and fashions. They rise above the ordinary plains of pop. They are acknowledged as artists not only by the millions of fans who crowd their concerts and buy their records all around the world, but also by serious musicians and critics whose sympathies are usually reserved for the more traditional or conventional modes of music. They may be heard, for example, on the BBC’s Radio 3, where Mahler and Mozart and Monteverde are the usual sounds of almost any day.

YES have evolved from writing simple 32 bar songs to creating complete, complex works that are not symphonies or operas or oratorios or anything else the world has ever known. What they produce has no recognizable name for their work is utterly new. Their work is truly the result of group activity rather than the child of a single dazzling mind. The whole group is a single dazzling mind. Instruments and voices are employed as an orchestra and choir, weaving a tapestry of sound that is overwhelming in its final impact Their music must be appreciated as a whole rather than as a series of pieces that may be contemplated in isolation. Listening to the music of YES is like listening to the wind and the sea and sunlight and the humming core of the planet all at once: it is unity, it is totality It is the sound of affirmation. It is the sound of life. And to life you can say only “yes.”


Jon Anderson: Vocals
Birthplace: Accrington, Lancs. Scorpio
Education: St. John’s School, Accrington.
Musical education: 12 years on the road with many good musicians.
Career progress: Listening to lots of music. Started in brother Tony’s band ‘The Warriors’. With them for 5 years working in Britain, Germany Sweden.
Formed YES with Chris Squire in 1968.

Musical influences: Anything good and moving.
Principal compositions: Wrote on all YES albums specifically ‘Close To The Edge‘, ‘Tales From Topographic Oceans‘.
Favourite songwriter: Joni Mitchell, Steve Stills, Lennon-McCartney, Nilsson, Paul Simon.
Favourite singles: ‘Stay With Me Baby’, Lorraine Ellison; ‘Good Vibrations’, the Beachboys, “Eleanor Rigby’, the Beatles.
Most influential LP’s: ‘Sergeant Pepper,’ the Beatles; ‘Bookends,’ Simon & Garfunkel; ‘Inner Mounting Flame,’ The Mahavishnu Orchestra, and any of Sibelius, Stravinsky, Mozart, Ilhan Mimaroglu.
Residence: Country home in Bucks.
Family: Wife Jenny and daughter Deborah Leigh born 16th December, 1970, son Damian James born 22nd September, 1972.
Awards: Gold albums for: ‘The Yes Album‘, ‘Fragile,’ ‘Close To The Edge‘, ‘Yessongs‘, ‘Tales From Topographic Oceans‘.
Top Group in U.K. and U.S.A. in Melody Maker, 1973 and 1974.
Top Songwriter with Steve Howe Melody Maker, 1974. and “Relayer” gold album 1975.

Instruments: Martin Acoustic guitar, Rickenbacker 12 string, various percussion, pair of Zyldjan cymbals and Gibson ES 140 full-bodied guitar.


Steve Howe: Guitar
Birthplace: London. Aries
Education: Hungerford Primary and Barnsbury Comprehensive.
Musical education: Self taught.
Career progress: ‘Syndicats’ 3 singles EMI; ‘In Crowd’ 3 singles EMI; ‘Tomorrow’ 2 singles, 1 LP EMI; ‘Bodast’ unreleased LP. Joined YES in 1971.

Musical influences: All guitar music, and music in general.
Compositions: Composed with Jon Anderson: “Roundabout” ‘Close To The Edge,’ ‘Tales From Topographic Oceans,’ and other joint YES compositions
Own guitar compositions: ‘Clap‘, and ‘Mood For A Day‘.
Songwriting inspiration: Personal experiences.
Favourite songwriter: John Dowland (1563-1626), Bob Dylan and Jon Anderson.
Favourite single: ‘It’s Been a Long Time’, by Les Paul and Mary Ford.
Most influential LP: Vivaldi; ‘The Four Seasons’ by Piero Toso, Evato STV 70679.
Residence: London.
Family: Janet and son Dylan, born August, 1969.
Awards: Gold albums for: ‘The Yes Album,’ ‘Fragile‘, ‘Close To The Edge‘, ‘Yessongs‘, ‘Tales From Topographic Oceans‘.
Top Group Melody Maker 1973, 1974. and “Relayer” gold album.

Instruments: Gibson ES 179D (1953), Fender Telecaster (1955), Gibson 345 Stereo, Dan Electro Sitar Guitar, Gibson Les Paul Junior, Showbud Pro II Pedal Steel, Gibson twin necak 6 & 12 String, Martin 0068
Amplifiers: 2 Fender Dual Showman amps, plus Dueal Showman cabinets, with JBL Speakers, Fender Quad Amp, plus Fender extension cabinet, with JBL Speakers, Echoplex Groupmaster, plus show bud root pedals, plus assorted special effects.


Chris Squire: Bass
Birthplace: London. Pisces
Education: Public school: Haberdasher’s Aske’s, Elstree, Middlesex.
Musical education: Self taught.
Career progress: Started in a band called ‘The Syn’ and formed YES with Jon Anderson in 1968.

Musical influences: Too many to name.
Principle compositions: Songs with YES.
Songwriting inspiration: Jon Anderson.
Favourite songwriter: Paul Simon.
Favourite single: ‘Dancing In The Street’ by Martha & The Vandellas.
Most influential LP: ‘Bookends’ by Simon & Garfunkel.
Residence: House in Virginia Water, Surrey.
Family: Wife Nicki and daughter Carmen born 1970 and Chandrika born February 1973.
Awards: Gold Albums for: ‘The Yes Album‘, ‘Fragile‘, ‘Close To The Edge‘, ‘Yessongs‘, ‘Tales From Topographic Oceans‘.
Voted Top Bass Player in Sounds and runner up in Melody Maker 1973, and Top Bassist in Melody Maker 1974. and “Relayer” Gold Album 1975

Instruments: Rickenbacker: 2×4 string, 6 string, 12 string, 8 string. Fender: Telecaster 4 string; Jazz 4 string; Stratocaster 6 string. Gibson: Thunderbird; Ripper 4 string; Double-neck 4 string & 6 string; EBI violin bass 4 string; Melody Maker 6 string. ‘Guild Fretless 4 string; 12 string acoustic. Danalectro Longhorn 6 string, Ampeg 4 string stand up electric, Earthwood 4 string acoustic, Hohner Clavinet C, Kentucky Mountain Dulcimer.


Alan White: Drums
Birthplace: Pelton, Co. Durham. Gemini
Education: Ferryhill Technical School.
Musical education: Two or three rudimentary lessons, but mostly reading derived from piano lessons since the age of 6. Played drums on stage since 13 years old.
Career progress: Included working with: Downbeats, Billy Fury and the Gamblers, Happy Magazine, Alan Price, Plastic Ono Band, Balls, Ginger Baker’s Airforce, George Harrison, Joe Cocker and various other artists in intensive session work. Joined YES in July 1972.

Musical influences: Charles Mingus, Miles Davis, Beatles, Neil Young, Joni Mitchell, Sibelius, and Monty Python.
Songwriting inspiration: The World.
Most influential LP: The big disc in the sky.
Residence: House in the country and flat in London.
Family: Single.
Awards: Gold Albums for: ‘Close To The Edge,’ ‘Tales From Topographic Oceans‘ and ‘Yessongs‘. and “Relayer” gold album 1975.

Instruments: Ludwig Drum kit includes; 22″ x 14″ Bass drum, 2 13″ x 9″ Tom Toms, 3 Timbalies; 14″ x 6,” 13″ x 6,” 13″ x 6,” 2 Floor Tom Toms 16″ x 16,” Moog Drum 8″ x 5%.” 4 Dresden Timpanies 23,” 26,” 29.” 32,” Janco Vibraphone, Jamaican Steel drum, Tubular Bells, RMI Electric piano, Mini moog, Set of Symphonic Gongs; 14,” 20,” 22,” 26,” 32,” Octaplus Drums; 8 various sizes, Crotales, 4 Roto- toms, Marimba, African Twanga, Ceremonial African drum, Square frame African drum, 2 Taboor African drums, log drum, 2 Cymbal Trees, 3 Ludwig snare drums; 14″ x 5,” 14″ x 6, 14″ x 5,” Gretch snare 14″ x 5.” Assorted Cymbals from 4″ to 24.” 3 Thunder sheets, Bell Lyra, 2 bell trees, cow bells and box assorted percussion. Gibson acoustic guitar, Guild Les Paul guitar.


Patrick Moraz: Keyboards
Birthplace: Morges, Switzerland. Cancer.
Education: Diverse Colleges in Switzerland and U.S.A.
Musical education: Violin, piano, pipe organ, harpsichord.
Career progress: Formed Patrick Moraz Trio, Quartet, & Quintet and then Mainhorse. Joined Refugee 1974. Joined YES August 1974.

Musical influences: Stravinsky, Jimi Hendrix, Beatles, Rachmaninoff, Stockhausen, classical music and modern jazz.
Compositions: Music for 29 films; ‘La Salamande’, ‘The Invitation’, ‘Mileu du Monde’ etc., music on Mainhorse and Refugee albums.
Favourite Singles: ‘Good Vibrations’, the Beachboys; ‘Hey Joe’, Jimi Hendrix; ‘With A Little Help From Friends’, Joe Cacker; ‘Killing Me Softly’, Roberta Flack.
Favourite albums: ‘Sgt. Pepper’, the Beatles; ‘Electric Ladyland’, Jimi Hendrix; ‘The Rite of Spring’, Stravinsky; ‘Inner Visions’, Stevie Wonder.
Favourite musicians: John Coltrane, Keith Jarret, Christian Vander, Jean-Luc Ponty.
Favourite songwriters Lennon-McCartney, Frank Zappa, Stevie Wonder, Elton John-Bernie Taupin.
Favourite singers Nina Simone, Joni Mitchell, Jon Anderson, Stevie Wonder.
Residence: Home in London and studio and home in Geneva.
Family: Single.

Instruments: Hammond C3 organ, Fender 73 & 88 pianos, 2 String Thing Synthesiser, 3 minimoogs, D6 Clavinet, 2 EMS AKS. Synthesisers, 2 mellotrons, ARP PRO Soloist, Rhythm Ace drum machine, 2 Binson Echoes, Alpine Horn, Electronic Slinky, Grand Piano, electric Harpsichord.

Awards: Gold Album “Relayer” 1975.


Sound Mixer: I.E.S. 30 channel quadrophonic mixer with Eventide phasers and digital delay A.K.G. echo unit, custom built for Eddy.

Sound System: Clair Bros. Stereo 4 way crossover-system. 20,000 watts for indoors and 40,000 watts outdoors, utilizing phase Linear and S.E.A. amplifiers, W Boxes, J.B.L. drivers and speakers.

The lighting equipment used by YES was designed and built by Michael Tait. The total power of the system is in excess of 120,000 watts, and the main structure is supported by 2, “Air Lift” Pneumatic towers. The most important part of the system is in the controlled board, radio controlled remote operation, 2 programmed chasers, and stereo cigarette lighters.


Management: Brian Lane and Alex Scott
Assistants: Sandy Campbell and Tina Austin.

Sound Production and Engineering by Eddie Offord
Assisted by Genarro Rippo
Sound System by Clair Bros Audio with thanks to Roy Clair and Mike Roth.

Lighting by Michael Tait assisted by Ian Peacock and Adam Wildi.

Stage Design: Roger Dean, Martyn Dean and Clive Richardson.
Set Manager: Adam Wildi.

Guitars: Brian George, Claude Johnson-Taylor.
Bass: Nigel Luby
Incidental Percussion: John Martin.
Keyboards: Ray Palmer, Jean Ristori.
Drums and Percussion: NuNu Whiting.
Keyboard Electronics/Engineering: Jean Ristori.

Program Design: Martyn Dean.
Secretary: Krissy.
Travel Co-ordination: Roy Ericson.
Trucking: Clair Bros. Audio.

YES would like to give special thanks to: Premier Talent, Mike Phillips, Sam Li, Manny’s Music, Rotosound Strings, Ludwig Drums, C.P. Cases, Electrosound, Electrosonic, Rainbow Freight, Teddington Welders (Jim and Peter), Percussion Services, Gill and Bernie, and Atlantic Records Inc.

When life speaks, its voice is music. Listen.

Brave vibrations fill the air, throb through the earth, stir the still and moving waters. The wings of the crane beat the atmosphere with rhythm. The cricket chirps. Salmon leaps with salmon to the roaring falls of music. Forests never sleep. Oceans are never silent. Silence is a mere idea. But hearts beat time. Limbs harmonize. Brains drum on the very cymbals of existence. There is a universal course which reveals itself in music. Music is order and purest creation. For music plays us things beyond us, within us, without us. Music plays us things as they are. Music plays us things as they will be. There is nothing music cannot play, from the chuckle of the moon to the frightful diapason of the damned. Music embraces all: the All in everyone, the Everyone in all. Even the unseen worm creeps to the beat of music. When Man spoke, his speech was the invention of music. From the first blow of consciousness, music nestled implicit in Man’s mind. Music was there, an infinite lyre of feelings waiting to tremble at the touch of existence. And so Man must drum and pipe and sing. Man must resound. As Man must breathe, as Man must think, as Man must suffer, as Man must die, Man must make music. Music is the voice of life in Man.

It is the voice life in you. All music is your music. All music creates you and re-creates you. And you create music. Through music, you are creator and created in One.

Every atom of matter vibrates at its own frequency. Every element possesses a specific vibration. Molecules pulsate Cells quiver. Every event, every phenomenon, every object verberates and reverberates: winds, waves, sunlight, stones, thunder, mountains, flowers, falling leaves, germinating seeds, even the crust, even the core of the earth. Nothing rests. Rest is a mere idea. Everything quavers, quakes, flickers, fluctuates. Every grain of sand, every sun. Man receives vibrations from all of Nature and resonates himself, a huge guitar, uttering music. Spoken language was born this way: when perception or conception first thrilled through Man’s mind, it thrilled with musical frequency. The mind responded like a gong, struck by thought, sonorously repeating the frequency. This repetition we call “speech”. What is speech, anyway, but inevitable sound? But music is inevitable sound that communicates without reference. Speech must refer. Speech refers first to music, which it imitates; and then to actions or objects, which it indicates. Music suspends from no reference. Music is self-suspension. It needs nothing but itself. There are no objects in music. Music is all subjects. Music is itself the subject. Music is no object. You cannot clutch a harmony. You cannot stroke it like a piece of stone. You cannot touch it. It touches you. Music, then, is primal. It is the foremost the Arts. Other arts are shadows next to music. Music’s perfect abstraction from the material reduces all matter to rubble. Music recognizes no three-dimensional barriers. The most perfect bronze is imperfect next to music. Music cannot decay with time. No green patina can smother it. No locks can seal it, like diamonds, in a vault. Music cannot crack or warp or stain. It cannot wither. It cannot wrinkle. It cannot come to dust. It cannot be bought at auction or sold to a private dealer. You cannot put your hands on music. Music is at once priceless and valueless. The condition of music is supreme.

No wonder, then, that music is magic. Circe’s magic. Calypso’s magic. The Sirens’s magic. The magic of Joshua and the magic of Gabriel. The magic of the Piper of Hamelin. It is every kind of magic. Silver trumpets summon dead pharaohs. Orpheus conquers hell with a lyre. St. Cecilia sings through a gash in her throat. Krishna Gopala rules his flock with a flute. Tezcatlipoca tips his smoking mirror and casts a spell with divine melody. These are sacred events. For music is above all sacred.

Music and religion are inseparable. There has never been a tribe of people anywhere – no matter how primitive – without music. There has never been a tribe anywhere without religion. There have been tribes without agriculture, without pottery, without writing, without the wheel, but none without religion or music. Just as religion addresses itself to feelings too deep for words – to the most human in most humans – so music is the means of that address. Religion and music appeal to the Invisible. Music’s invisibility is the visible evidence of its mystery.

What, then – in the end, in the beginning – is music?

When the mind speaks, it sings music. Music is the language of the mind. The language of Man’s mind. The language of the universal Mind.

The very word music is the music of its meaning. MUSIC comes from the Greek, mousa (Muse), which itself derives from the Indo-European base, mendh – (to direct the mind). Mendh – is older still. It comes from the Sanskrit manas (Mind, Spirit) and manyate (he thinks). Music is mind.

Music is the vibration of thought and feeling rippling through the mind. Music is the sound of reflection, contemplation, perception, reception, creation. It is active and passive, male and female. The true business of the mind is music. Music turns the thoughts away from transitory powers and perishing values, and in turn our thoughts make music. The expanding universe is a harmonious whole which implies the whole of music. The whole universe oscillates as an immortal note. There are no dischords. There is no disorder. Any dischord or disorder we may imagine that we perceive, is merely the invention of our own imperfect perception. Dischord and disorder are mere ideas. Order is there even if we do not know it.

Music alone, perhaps, is perfect. The pursuit of music is the pursuit of perfection. Music alone succeeds. Where music succeeds, Man succeeds at his greatest. Not vast cities or empires glittering gold are the symbols of human achievement. Human achievement is universal. Human achievement is music – whether the tribal dance invoking the fertility of the fields or the grandest Mass scaling the walls of Christian heaven.

Music is your voice. Music is the voice of life in you. When you travel beyond yourself, beyond your earth, beyond the center of the stars, you travel on music. Generations come and go to music. Music keeps the time of life. The subject of music is life. The subject music is mind. The subject of music is the universe. The subject of music is music.

You are more than human when you let the music become you. Listen. You are in tune with space. You become the music when the music plays.

So, listen. The air is full of music. You hear the music, now, for you are the music. And the music is you.

-Donald Lehmkuhl
May 1975


Snakes are coiled upon the granite
Horseman ride into the west
Moons are rising on the planet
where the worst must suffer like the rest.

Pears are ripe and peaches falling.
Suns are setting in the east.
Woman wail, and men are calling
to the god’s that’s in them, and to the beast.

Love is waiting for the lover.
Generations kneel for peace.
What men lose, Man will recover
polishing the brains his bones release.

Truth conceals itself in error.
History reveals its face (Do we learn?)
days of ecstasy and terror
invent the future that invents the race.

Donald Lehmkuhl
© October 1974

A note from Steven Wilson about his 'Definitive Edition' YES Album Remixes

Understanding the difference between remastering and remixing is fundamental to understanding why these new ‘Definitive Editions’ of classic YES albums sound so different to previous ones.

Since the advent of CD in the early 80’s, all the 60’s and 70’s YES albums have been remastered for the different editions by various mastering engineers. Each time this remastering process broadly involved taking the mix from the same original Eddy Offord stereo master tape and applying different amounts of EQ and compression to it. This means that if the mastering engineer decided that the bass guitar needed more bottom end then he/she had to add bass across the whole track, therefore affecting other elements in the mixes too. Additionally many of these reissues have been subjected to mastering compression to make them sound louder and in theory more “exciting”, but at the expense of the natural dynamics of the recording. For a band like YES where there is so much subtlety and dynamics in the music this “ear-fatiguing” approach would seem to be wrong to me.

Remixing, on the other hand, entails a more sophisticated and time consuming process – going back to the original 16 or 24 track multitrack session tapes, and then recreating the mix from the drums up. Applying EQ to each individual instrument (rather than across a whole mix), rebalancing, recreating echo, reverberation, phasing and other effects, making volume moves, positioning elements in the stereo spectrum, and more. In doing this, since we now have the ability to work with the latest high resolution audio tools, it allows for greater clarity between instruments to be achieved. No additional compression has been added at all. The remixes may seem quieter, and you may have to turn up your stereo, but that is because all of the natural dynamics have been retained.

That’s not to say that this means these new mixes are “better”, because particularly the original mixes of albums such as The Yes Album, Fragile, and Close to the Edge are brilliant. So if you are intimately familiar with them the new versions may sit uncomfortably with you, no matter how faithfully I tried to stay close to the originals. But if you treat the new mixes as an alternate perspective, you may notice additional details you hadn’t before, and more importantly the new stereo mixes are a step along the way to creating the 5.1 surround sound mixes. (Note that if you just can’t get on with the remixes, then the original mixes are also included in these reissues for the first time as high resolution flat transfers, so none of that added mastering EQ or compression, exactly as they left the studio after Eddy had mixed them).

Additionally returning to the archives gave me a chance to mix unreleased material from the multitrack session tapes for the very first time – either things that the band had originally recorded but abandoned prior to mixing, alternate takes, or different perspectives of the album takes (such as the instrumental mixes, or the a cappella mix of We Have Heaven from Fragile).

I hope you enjoy the definition and clarity of these new mixes in high resolution 96/24 audio, and of course especially in 5.1 surround sound where these classic albums really open out and shine!

Steven Wilson

YES albums available in Steven Wilson Definitive Editions

Get the Definitive versions of 5 Classic YES Albums on Amazon: The Yes Album, Fragile, Close To The Edge, Relayer and Tales From Topographic Oceans.
Remixed & Remastered by Steven Wilson in HD24-96 5.1 & Stereo, and also including the original YES/Eddy Offord mix, with a host of extra tracks.

The Yes Album
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Close To The Edge
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Tales From Topographic Oceans
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