A remix of Relayer could be pretty interesting and revealing. Problem is that if I buy one then I'm likely to crack and end up buying them all, but I don't really want to buy them all.
A remix of Relayer could be pretty interesting and revealing. Problem is that if I buy one then I'm likely to crack and end up buying them all, but I don't really want to buy them all.
"It was a cruel song, but fair."-Roger Waters
Listen to the lyrics of this song. Though I'm no Christian, I think what Geoff Mann was trying to get across has lots of wisdom. I strongly believe this song was especially written for prog-fans collecting stuff for merely collecting it.Originally Posted by Frumious B
How could anyone think that a rough studio run through of gates is better than the finished product? They only did that as a guideline.
Oh, that happens alot, youde be surprised.
Not that I am saying this is the case with relayer, but sometimes when work on a piece gets dragged along and takes its time it drains the energy from the band and all involved and sometimes the magic that was in the initial rough sketch disappears completely in the final version. Sh!t happens...
Found a cache of the allmusic.com review that elevated the studio run-through of Gates.
An interesting take, but, like Henry, I don't (yet) entirely understand the reviewer's extreme enthusiasm.Review by Dave Thompson [-]
First things first. It's unlikely that this remaster will convert anyone who rejected Relayer in the past. Even more than its predecessor, the sprawling Tales from Topographic Oceans, Relayer was the sound of a band that built its reputation on vast, ambitious ideas, facing up to the fact that it had completely run out of them -- and the so-ponderous intro to "The Gates of Delirium" remains the most disappointing opening that any Yes album has ever endured. How sad that they didn't forget the final mix and go with the studio runthrough instead. Closing the three bonus tracks that pack out the 2003 remaster of Relayer, a full-length blast through that side-long disappointment packs a sparkle and energy that the released version absolutely lacks. The guitars and keyboards shimmer, Anderson's vocal is alive with enthusiasm, and there's a dynamism to the rhythms that simply echoes through your head. Elsewhere among these remasters, the alternate versions of familiar songs have offered little more than a rough blueprint of subsequent majesties. This time, the outtake is the best thing in sight, with the closing "Soon" section standing among the finest Yes recordings of all. "Soon" reappears again among the bonus tracks, in the form of a tight little single edit; "Sound Chaser," too, made it onto 45, and it's intriguing to hear its original nine minutes cut down to just over three, dominated by guitar lines and a loping rhythm that wouldn't have been out of place on a Led Zeppelin album. The "cha-cha-cha" chorus is still annoying, though, and the bulk of the remastered Relayer will doubtless languish unplayed in your CD collection. For that astonishing reappraisal of "Gates of Delirium," however, it's worth the cost of admission.
The current band are on good terms with Moraz, and it was Howe has talked in interviews of how Moraz should have received more credit for his contributions to what became GftO, so I'm not certain why you think they want to give Moraz little credit for anything.
Henry
Where Are They Now? Yes news: http://www.bondegezou.co.uk/wh_now.htm
Blogdegezou, the accompanying blog: http://bondegezou.blogspot.com/
I'd always assumed it was the case that Moraz was on those GftO bonus tracks, but just intentionally mixed out.
Weird stuff seems to have happened with some of the Rhino bonus tracks (and, so far, all the Rhino bonus tracks have been included on the Panegyrics). I'm not certain who decided any of this. I think the (then) band provided Rhino with material, but they didn't seem to have much involvement in choosing/editing/mixing bonus tracks.
Henry
Where Are They Now? Yes news: http://www.bondegezou.co.uk/wh_now.htm
Blogdegezou, the accompanying blog: http://bondegezou.blogspot.com/
Does at least sound suspiciously like Moraz's Vako Orchestron in the brief moment when no one else is playing around 9:20 in Eastern Numbers.
Gotta be. I always wondered if those were rough mixes made for Rick to work from when he joined the sessions; that would explain the missing keyboards.
Interesting theory!
Henry
Where Are They Now? Yes news: http://www.bondegezou.co.uk/wh_now.htm
Blogdegezou, the accompanying blog: http://bondegezou.blogspot.com/
Last edited by unclemeat; 09-13-2014 at 10:25 AM.
Nah, I don't think so, Geoff Mann had bigger things in mind. Here's the final section, bolds are mine:I strongly believe this song was especially written for prog-fans collecting stuff for merely collecting it.
To one last party, I asked them all and one
And when it was over I found that all but one had gone
Did Jesus have a grave stone upon which to carve his name?
We all are what we live, a truth that will never change
You cannot collect worthwhile living
For it is a crop that grows, from a seed of giving
Diaries, drugs, a glittering crystal ball
Cathedrals, palaces, sweet sugar you can keep them all;
Heaven, heaven is not for sale
Heaven is not for sale
He was a committed Christian, I seriously doubt he was overly concerned with what the tiny crowd of prog fans did with their disposable income.
...or you could love
I love what SW did with A Passion Play and XTC's Nonsuch. Really looking forward to this.
The Prog Corner
Just listened to the stereo version so far, but wow... Wilson really gives this thing breathing room. Wished I could hear Chris more, but still happy how it turned out, finding it engaging whereas before finding it a claustrophobic experience.
Very true on both counts (IMHO)
Interesting. I found the remix much more closed in/boxed in sounding compared to the original. Didn't really do much for me.
I hear separation between instruments, especially guitar and keyboard. Before, it was hard for me tell where Steve ended and Patrick began. Now I hear details where before it was a wall of midrange. I especially like how subdued the 'battle noise' is; though its still audible, it isn't the cacophony of noise it is on earlier versions. This was some of Steve's most intricate work and and this disc reveals that along with a better appreciation for what Patrick Moraz brought to this project.
That "side-long disappointment" is my favorite YES song ever.
High Vibration Go On - R.I.P. Chris Squire
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