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Battle Sounds on the Definitive Edition of Relayer

The mystery of the missing battle sounds!

Definitive edition, or not?

You decide…


Shakira reviews the new Steven Wilson mix of Yes’ Relayer


Shakira signals her approval of the new Steven Wilson mix of Yes’ Relayer by wearing the appropriate T-shirt.

I’m still waiting for my copy to arrive. But here’s what’s in both the CD/DVD-A and CD/Blu-Ray versions:

CD (both versions):
NEW 2014 STEREO MIXES by Steven Wilson from the original multi-track tapes
1. The Gates Of Delirium
2. Sound Chaser
3. To Be Over
Bonus tracks (Mixed & produced by YES and Eddie Offord):
4. Soon (single edit)
5. Sound Chaser (single edit)

NEW 2014 STEREO MIXES: LPCM Stereo 24/96
1. The Gates Of Delirium
2. Sound Chaser
3. To Be Over
NEW 2014 5.1 SURROUND MIXES: 24/96 MLP Lossless/dts 96/24
1. The Gates Of Delirium
2. Sound Chaser
3. To Be Over
ORIGINAL STEREO MIXES: Flat Transfer from original master LPCM Stereo 24/192
1. The Gates Of Delirium
2. Sound Chaser
3. To Be Over
1. The Gates Of Delirium (studio run through)
2. Sound Chaser (studio run through)
3. To Be Over (studio run through)

1. Soon (single edit)
2. Sound Chaser (single edit)
3. The Gates Of Delirium (Studio run through)
1. Sound Chaser (Live from Cobo Hall 1976)
2. Sound Chaser (demo version)
1. The Gates Of Delirium
2. Sound Chaser
3. To Be Over
1. The Gates Of Delirium
2. Sound Chaser
3. To Be Over
NEEDLE-DROP 1: Original UK vinyl transfer: LPCM Stereo 24/96
1. The Gates Of Delirium
2. Sound Chaser
3. To Be Over
NEEDLE-DROP 2: US promo album vinyl transfer: LPCM Stereo 24/96
1. The Gates Of Delirium (Part I)
2. The Gates Of Delirium (Part II)
3. The Gates Of Delirium (Part III)
4. Sound Chaser (Part I)
5. Sound Chaser (Part II)
From the “Official Site”:
BLU-RAY: NTSC, all regions, LPCM playable in all Blu-ray players & Blu-ray drives
DVD: NTSC Region 0 hybrid DVD-A, compatible with all DVD players & DVD-rom drives
Both sets are presented in a mini vinyl replica gatefold card sleeve (with protective inner sleeves) with the original artwork expanded, restored and approved by Roger Dean. The booklet features new sleeve notes by Sid Smith along with rare photos and archive material.

relayer relayer-wilson

Re-Entering the Universe


Well, it has been exactly one year since I first joined Progarchy, and what a positive experience it has been. In celebration, I have decided to briefly give another shout out to my friend Dennis Lee Askew of the band Universe, one of my favorite American prog bands.  I very much enjoyed reviewing his first album in an earlier post.  Dennis recently issued a new album (pictured above) containing some songs from his first album and a few others previously unreleased. If you enjoy the sounds of psychedelia, space rock, acid rock, and prog, you will enjoy this album. It is a superb blend of Pink Floyd and The Moody Blues with some Yes added for good measure.  My two favorite songs on the album are I Am, which is keyboard driven and definitely has an early Pink Floyd vibe, and The Axiom, which features a cool synth opening and some great guitar work. You can support Dennis and his work by visiting his website and purchasing the album.

Goodbye Thomas, Hello Billy: Behind the Scenes Drama with Yes


Steve Howe has revealed in a radio interview that Yes wasn’t getting what it needed from Roy Thomas Baker on the production of Heaven and Earth, so they had to turn to Billy Sherwood, who left his stamp especially on the vocal mix:

“We got into it, and it was OK,” Howe tells WMGK‘s Ray Koob. “You know, every producer’s got a certain style. Roy’s method was pretty much about the sound. It wasn’t so much about the construction of the songs, like Trevor [Horn, producer of 2011's Fly From Here], who worked very hard on that. So, Roy kind of let us do most of the music, and twiddled with a lot of knobs. But, I tell you, in the end we really did have to bring it back to Yes Central — because, in a way, I don’t think he was as familiar with our mixing style as say Billy Sherwood, who ended up doing that for us. Well, we did it with him; it was a collaboration. So, we had to kind of pull it back to Yes Central. It was all fair in love and war.”

When I saw Steve after the show in Vancouver, he remarked about his good memories of Vancouver because that was where The Ladder was recorded. Steve is really happy with the sound of The Ladder because of its unique “flavor.”

I think Jon Davison is fantastic and I have come to like Heaven and Earth very much, despite what initially struck me as weird about it — namely, the production! — and this news makes me wonder what the album could have been if Sherwood and not Baker had been involved for the entire process.

I hope they do another album with Davison soon, and with the right producer this time.

Yes — San Jose concert live on the Web tonight


YES – Live at San Jose Civic

On 19 August 2014 – Watch the YES live show from San Jose Civic CA – FREE – exclusively on Yahoo Screen.

Setlist: FRAGILE & CLOSE TO THE EDGE in their entireties plus 2 tracks from HEAVEN & EARTH plus more GREATEST HITS!

Showtime: 11:30pm ET / 8:30pm PT / 4:30am UK
Check the show time in your location here.

If you are in the USA you can watch the YES exclusive live concert for free on the Yahoo Screen App, available on iOS for iPhone, iPod & iPad and on Android.

If you miss the live event, don’t worry, the show will also be available to view afterwards on the same website.

Yes to Forever

Will Yes be the first band to transcend generations?

From an awesome new interview with the excellent Jon Davison:

But even with all the lineup changes, Yes’ music retains a dynamic, unmistakable identity that manages to end up being bigger than its individual players. 
That’s right, and it’s similar to the way classical music works. Long after those marvelous composers, like Chopin and Bach and all of them, passed, and the centuries moved forward, their music lives on. It’s not so much about the personality anymore. And people have a hard time seeing that now, because obviously the members [of Yes] are still alive, apart from [original guitarist] Peter Banks, who passed away last year. But it’s so easy to associate the music with the personality, and that causes a lot of conflict among fans. But ultimately, it’s about the music, and just taking the music forward. And there will always be a Yes. And I’m a lover of Jon Anderson as much as I’m a lover of Chris Squire, but you can’t fight it. And when something has that power to it, it’s beautiful, and beauty transcends all of that personality, and it’s always gonna belong, you just can’t put a cap on it and say, “Well, the original members aren’t doing this music anymore, so it’s over.” That can never be. It just can’t be.

It reminds me of the music of Frank Zappa, who composed so much great material with many different lineups — and many different lineups have performed it.
Yeah, that’s exactly it. Art just transcends so much. And when there’s something beautiful and powerful, it’s going to thrive, and you can’t stop it. Each lineup of Yes reflects a new, fresh kind of flavor, if you will. In the grand scheme and topography of Yes. So I think that’s kept it going. I think that’s kept it really fresh. Even the later albums, with “Open Your Eyes,” and so on, those albums are less popular, perhaps, but there was always a nice freshness there, the music was alive, and I think that has to do so much with the unique lineups that keep evolving.

In a recent article, Yes bassist Chris Squire joked, but in a somewhat serious way, that Yes will be around in a hundred years.
For me, when I hear the classic Yes stuff, yeah, I definitely hear that this is a ’70s band — there’s a lot of aspects in it that reveal that. But at the same time, it’s futuristic music. It’s like this thing you can’t quite pinpoint. It’s, like, way ahead of its time. And I still think we haven’t arrived at the point where, OK, we’ve arrived to the full realization of what Yes is. No, it’s like it’s still in the future, and I think that’s why it goes over so many people’s heads.

It’s definitely rock and roll, but at the same time, it has this transcendental quality that you can’t quite pinpoint.

Love Will Find A Way: Revisiting Underrated Yes Albums @YesOfficial

It can happen to you …

… you can learn to love an underrated Yes album (e.g., Talk or Big Generator or Drama or Heaven & Earth) today.


Because love will find a way …


Yes — “The Calling”: Four Versions

Further to our vigorous discussion of Talk, a nice bit of trivia from the good old NFTE:

Greetings all.  Over the weekend before Talk came out, I picked up the promo
CD single for "The Calling" from my local rarites dealer.  It contains three
different edits of the song plus the original version.  Imagine my surprise
a few days later when I found that the original version of the song is not
on the album (not on the US release, anyway).  The four tracks are:

Radio Edit (5:58) The only version that I have heard on the radio.  An apt
   title, I suppose then.  Edited out are the funky guitar/keyboard break
   (occurs about 3:00 into the original version) and the long quiet part
   that immediately follows.

Single Edit (4:39) Like the radio edit, but with the harmonized vocal intro
   edited out (that is, the first verse starts where we would expect the
   harmonized intro to start), and an very early faded-out ending.

Album Edit (6:55) You guessed it, the same version that is on the album.  
   Like the original version, but with the long quiet part (for lack of a 
   better name) edited out.  Silly me, I was puzzled for a few days as to
   why they called this the "Album Edit", but now I know.

Original Version (8:06) This is the version some have heard on the radio, 
   and I believe it was played at the premiere party.  There is a soft quiet
   part right after the guitar/keyboard break.  To give those who haven't 
   heard it an idea of what it sounds like, I halfway expected Anderson
   to start singing "Awaken" during it.

The cover to the cardboard sleeve is exactly like that of the album (minus
the word "Talk", naturally).  Stranger still is the fact that the words "The
Calling" do not appear anywhere on the cover.  The spine reads "Yes - The 
First Track From Talk".  The back cover reads "The First Track From Talk",
and "Start TALK-ing now!" (duh).  Was there perhaps some indecision over
what the first single would be?  The number on the spine is CDP 1178, if
that helps anyone, and I paid $4 for it.

Alan White on the disputed Yes album Talk

Well, now that’s some perfect timing…

Alan White himself weighs in regarding our most recent Progarchist controversy over Talk:

Rock Cellar Magazine: Is there a Yes album that gets overlooked?

Alan WhiteDrama is an underrated album for me. It was one of my favorites because everyone in the band wrote everything on that. I wrote the main lick in Machine Messiah. There were musical contributions from everybody and I loved the album Drama.

The other one that I thought was really good was done in the Trevor Rabin era and that was the Talk album. That album doesn’t get looked at very much but it’s an absolutely superb album. There’s a track on that album called Endless Dream, which is absolutely stunning and features a lot of great playing from everybody.

And there you have it! “An absolutely superb album.”

‘Nuff said.

Yes- Talk WAY Too Much

Erik’s review of Talk got me all nostalgic for the good old “Notes From the Edge” days. The site is currently inaccessible via the front door, but the ASCII pages are still up on the Internet, so you can get in via a back door if you type in a numerical URL. While poking around this way, and stirring up old memories, I came across this hilarious “parody review” (i.e., “IT’S A JOKE, GUYS!!”) of Talk written by “Jeremy” a.k.a. “Captain Apathy” (and dated “March 22, 1994″) — which I think makes a nice addition to our most recent Progarchist controversy over Talk:

Yes- Talk WAY Too Much

After two years of arguments and lawsuits, the band
Yes-We're-That-Pretentious has finally whittled their membership down to a
slim 5, minus members: Rick Wake- Up-and-Smell-the-Coffee-Man, Steve
Howitzer, and Bill Brooford.  The band is now the same line-up as on
'90125.71243..." and "Big Degenerative", and have just released their newest
album: "Talk WAY Too Much."  Using state of the art technology, the band
recorded and mixed the album completely through a Radio Shack Tandy computer.
 But now, let's talk to the band members.

Jon Andersony: "What the band has done in the past I've really enjoyed...
what I remember of it.  But this album I'm extrememly proud of.  We have
pushed the band to the limits... of human decency."

Trevor Rabin-McEntyre: "The last album ("Onion Soup Mix") was horrible. It
was so bad that I didn't even play on it; I got my good friend Yngwie
Malmsteen to do the guitar work; it was just horrible.  But now with the
computer, we can get rid of those horrible tape recorders... of course we
stored all the computer information on tape recorders, but what the heck."

Tony Casey Kasem: "Actually, I kind of liked that last album. But I'm just
happy Rick's gone.  It gives me a chance to strut my little toy piano!"

Alan Whitehead: "I've been with the band through and thick and thin, and I
think this is the best work we've done... of course, I'm getting paid to say

Chris Drinks-Like-A-Fish: "Where am I?  Someone get me a drink!"

But, let's get to the album, shall we?  The tracks (in no specific order):

1) I've Been Waiting (For A Girl Like You)
As a homage to their past, the band produced this timeless cover of the
Foreigner tune, lengthening the song to 3 times its original length.  
Jon: "It worked with America, so why not now?"

2) The Call-Waiting
Trevor: "I love this phone feature, it's cool!  I can have a three-way
conversation now!"  The band hopes to have the song used in an upcoming MCI

3) Really Expensive Love
Chris: "I think Trevor wrote this song about a prostitute girlfriend or
something... where's my Scotch?"

4) State Of Play-Acting
Tony: "Actually, the song is 5 minutes of Trevor air-guitaring... we hope to
get it into video-form, or no one will understand the song."

5) Malls
Surprisingly, this tune was written with the help of Roger Hodgepodge of the
70s band Superdupertramp.  Why was he asked to help write the song?
Trevor: "Because the Village People were unavailable."

6) Where Will I Be?
Jon: "The song is actually about one of my favorite books... Where's Waldo? 
I just love those things.  I sit for hours and hours and try to find him...
it's just wonderful!"

7) Endless Song
For the first time since "Going For The Other One", the band has released a
song of epic proportions.  In fact, the song is so long it fills up a second,
third, fourth and fifth CD.  
Alan: "You see, it would have only been one, but Trevor's solo was just so
a) Silent Thing 
Trevor: "I think Robert Fripp-Wilson would have approved of this one... over
four minutes of silence!  It's just... awesome!"
Jon: "Actually, Trevor forgot to turn the mike on."
b) Some Talking
Jon: "I just had so much more to say lyric-wise, that we put this on... I
mean, this is the beginning of the past... or is it the future?  Anyway,
other alien galaxies will know what I'm talking about when they hear the
Chris: "Right, what he said... where's that martini?"
c) Endless Song
Tony: "This is the best part of the album.  There's one point where I got to
take my Hammond Organ and really tear it apart!  Just like Keith Emerson!"
Trevor: "Actually, we had to cut that out, Tony, to put more of my guitar
solo in."
Tony: "What?!  Why you little..."

Let's hope we'll hear more from this talented band!

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