This is a deeply considered and confident piece—rich with historical grounding, musical insight, and a genuine affection for Relayer’s risk-taking spirit. I especially appreciated how you framed the album not simply as an outlier, but as a moment where internal conflict became the creative engine. The track-level discussions are sharp without becoming technical for their own sake, and the broader cultural framing gives the album real weight beyond fandom. A thoughtful, persuasive tribute to Yes at their most fearless.
Howard, many thanks for reading and commenting (and the restack, as well). Your essay on CTTE gave me some ideas about how to proceed on this piece (I'd been stuck for weeks). I like how you use "fearless" to describe Relayer. Indeed, Moraz's immediate contributions to Sound Chaser must have been a quite a jolt for the other 4 members, and throwing caution to the wind, decided to forge ahead with this strange new Yesmusic damn the consequences. My other thought on this period is how absurdly creative and productive Jon Anderson was between 1973-76. Between Tales, Relayer, and Olias, his musical muse was truly fearless.
I waited a long time to make time to read this article without distractions, because Relayer is one of my favorite Yes albums. Brilliant review and commentary. "Fearless" is a very good summary; it definitely challenged Yes fans who were more inclined to like the safer, more popular tunes like Your Move and Roundabout. Listening to this album on headphones transports me to that imaginary world so richly portrayed in Roger Dean's illustrations, and the sonosphere of the battle sequences is so immersive- it captures the cacophony and chaos of battle.
Yes were masters of the "trainwreck segue", building up to a chaotic, roaring crescendo, then abruptly shifting into a beautiful, soothing melody resembling the calm after a fierce storm. They employed this to great effect in Close to the Edge, Yours is No Disgrace, and of course, Gates of Delirium. Music that touches the soul.
Mike, huge thanks for reading and for your generous and thoughtful comment. Albums like Relayer (and CTTE, Yessongs, and Tales) are reference points for us-we are the same "kids" who listened to them so long ago, yet I hope with the perspective that age gives us, we can now find additional textures, meanings, and details previously hidden from our young minds. Then again, isn't that the case with all great music; it grows as we grow?
I would definitely recommend Howard and Wordsworthesq's linked pieces on CTTE and 90125. Though I'm not comparing myself to them (they are both much better writers), the essays form a sort of continuum of Yes's evolution through the 70s and early 80s. Hmmm, dare I tackle Yessongs or Tales next...?
I really enjoyed reading this--both for the history and your perspective on it. I always thought it was one of their most interesting and risk-taking albums, but there is something about the production or the arrangements that has always been off putting or harsh to me. The great irony is that as much as it is a leap for Yes, it also looks backward. Their first album had considerable ties to jazz music, and not just slapping the name Harold Land on a song. I think I am more comfortable with Going for the One only because I think it sounds better, but I know in my heart that Relayer is the more interesting long player. And how funny is it that Jobson could have been a member twice over, or that Moraz went on to help revitalize the Moody Blues and when they fired him, they claimed he wasn't even really a member of the band.
Many thanks for your kind words (and the restack). Even though Moraz may not have been a long-term replacement for Wakeman, he was the perfect keyboardist for this moment/album in Yes history. I'm leery that Yes could have maintained the level of musical inventiveness that Relayer documents. In that sense, Wakeman reeled the other members (particularly Anderson) back in, so that GFTO was a clear return to form.
Yes land was often not a happy place even for the originals. In retrospect you can easily see why Bruford bailed out, sad as that was. It must have been excruciating for him in Yes after CTTE especially when you consider how long he lasted with Fripp.
This is a deeply considered and confident piece—rich with historical grounding, musical insight, and a genuine affection for Relayer’s risk-taking spirit. I especially appreciated how you framed the album not simply as an outlier, but as a moment where internal conflict became the creative engine. The track-level discussions are sharp without becoming technical for their own sake, and the broader cultural framing gives the album real weight beyond fandom. A thoughtful, persuasive tribute to Yes at their most fearless.
Howard, many thanks for reading and commenting (and the restack, as well). Your essay on CTTE gave me some ideas about how to proceed on this piece (I'd been stuck for weeks). I like how you use "fearless" to describe Relayer. Indeed, Moraz's immediate contributions to Sound Chaser must have been a quite a jolt for the other 4 members, and throwing caution to the wind, decided to forge ahead with this strange new Yesmusic damn the consequences. My other thought on this period is how absurdly creative and productive Jon Anderson was between 1973-76. Between Tales, Relayer, and Olias, his musical muse was truly fearless.
51 years. Gulp. Time flies when you're having fun. Seems like yesterday that album came out. I saw them tour it.
I waited a long time to make time to read this article without distractions, because Relayer is one of my favorite Yes albums. Brilliant review and commentary. "Fearless" is a very good summary; it definitely challenged Yes fans who were more inclined to like the safer, more popular tunes like Your Move and Roundabout. Listening to this album on headphones transports me to that imaginary world so richly portrayed in Roger Dean's illustrations, and the sonosphere of the battle sequences is so immersive- it captures the cacophony and chaos of battle.
Yes were masters of the "trainwreck segue", building up to a chaotic, roaring crescendo, then abruptly shifting into a beautiful, soothing melody resembling the calm after a fierce storm. They employed this to great effect in Close to the Edge, Yours is No Disgrace, and of course, Gates of Delirium. Music that touches the soul.
Mike, huge thanks for reading and for your generous and thoughtful comment. Albums like Relayer (and CTTE, Yessongs, and Tales) are reference points for us-we are the same "kids" who listened to them so long ago, yet I hope with the perspective that age gives us, we can now find additional textures, meanings, and details previously hidden from our young minds. Then again, isn't that the case with all great music; it grows as we grow?
I would definitely recommend Howard and Wordsworthesq's linked pieces on CTTE and 90125. Though I'm not comparing myself to them (they are both much better writers), the essays form a sort of continuum of Yes's evolution through the 70s and early 80s. Hmmm, dare I tackle Yessongs or Tales next...?
I really enjoyed reading this--both for the history and your perspective on it. I always thought it was one of their most interesting and risk-taking albums, but there is something about the production or the arrangements that has always been off putting or harsh to me. The great irony is that as much as it is a leap for Yes, it also looks backward. Their first album had considerable ties to jazz music, and not just slapping the name Harold Land on a song. I think I am more comfortable with Going for the One only because I think it sounds better, but I know in my heart that Relayer is the more interesting long player. And how funny is it that Jobson could have been a member twice over, or that Moraz went on to help revitalize the Moody Blues and when they fired him, they claimed he wasn't even really a member of the band.
Many thanks for your kind words (and the restack). Even though Moraz may not have been a long-term replacement for Wakeman, he was the perfect keyboardist for this moment/album in Yes history. I'm leery that Yes could have maintained the level of musical inventiveness that Relayer documents. In that sense, Wakeman reeled the other members (particularly Anderson) back in, so that GFTO was a clear return to form.
Excellent piece on a landmark album
Thanks much! It was fun to write.
Yes land was often not a happy place even for the originals. In retrospect you can easily see why Bruford bailed out, sad as that was. It must have been excruciating for him in Yes after CTTE especially when you consider how long he lasted with Fripp.