In "Relayer", Yes took the occasionally-brilliant bloated bulk of "Topographic Oceans", distilled out its best aspects, added a jazz keyboardist to replace the more classical Wakeman, and cranked it to 11. It's their most experimental album, and in my opinion, their most successful one.

The 22-minute "Gates of Delerium" is one of their most coherent epics, creating in song and sound the tale of a war between two armies that feel forced to fight. Listen to this on a pair of good headphones, and by the time the 'Soon' segment floats in, if you aren't wiping your eyes, you're simply inhuman.

It's followed by "Sound Chaser", Yes at its edgiest, with a guitar solo that's the closest prog-rock ever got to straight-ahead rock n' roll.

The closer, "To Be Over", is my personal favorite Yes song. It has every classic Yes moment in one six-minute masterpiece: dreamy fantasy lyrics, a rocking guitar solo, thumping bass, an ear-ticking keyboard run, and lots of slide guitar. It's the Yes song that sounds most like a Roger Dean album cover.

Hearing this album for the first time, and double-checking the CD case to see that it's still Yes, is like a little glimpse of the Twilight Zone. We've never heard lyrics like "slay them burn their children's laughter on to hell" from Jon Anderson before (or since), not to mention such sheer violent force from Steve Howe's guitar or such insane pounding from Alan White. Listen to "Gates of Delirium" through headphones with eyes closed and you can see the battle played out in your mind. We go through aggression, anger, doubt, conflict, frenzy, and an earth-shaking climax of sorts that leads into, if not a happy resolution, then a somewhat peaceful one. Even in the sublime outro, there's a tinge of doubt and uncertainty: it remains not completely resolved, as it should.

And that's just the first track. "Sound Chaser" has some more frenzied guitar from Howe, along with the most free-jazz soloing you'll hear on a Yes album. I could live without the "cha-cha-cha"s, but otherwise it's nine minutes of brilliance that leaves you wanting more. "To Be Over" - ah, here's that happy ending. Almost a lullaby, it's encouraging and peaceful without the lingering doubt that runs through "Gates." All the trademark Yes qualities you'd thought they abandoned on this album, all the joy and positive melodies, they're found here. Relayer is the love-it-or-hate-it Yes album that splits most of the fans down the middle. Different though it may be, it's undeniably a masterpiece.

I can't quite believe this album has 110 reviews. This one will make it 111.

Yes have a lot to answer for. They seem to have invented this whole superblown, gargantuan, prog rock style. They made Genesis seem like The Ramones in comparison. Here in the UK, admitting to liking Yes was fairly dodgy even in 1974.

And by 1976, no-one would actually admit to having gone to any of their massive gigs. But tens of thousands did and I was one of them. There, I've come out. However, despite all their colossal indulgence Yes really did produce some astonishing work and Relayer was one of the best albums they ever made. More violent than Sabbath, The Gates of Delerium really is a crushing recording. You have to remember that in those days there really was nothing like it. In this way it has a special relevance to those who heard it back then. It was a revelation. Something that no-one born after the 1960's can possibly appreciate.

It seems that the US only really started to 'get' Yes after all that 'Owner Of A Lonely Heart' nonsense. When the producer behind 'Frankie Goes To Hollywood' got involved it all took on a rather tacky feel. The meat of the matter as far as Yes are concerned is contained in all the albums leading up to and including Relayer. After that - 'Going For The One'? Ooh nasty! And 'Tormato'?? Dear God in heaven!

So it's good to see that 'Relayer' is still right up there in the minds of the massive American buying public. Vindication, if you will, of a quality piece of work.

And, as other reviewers have noted, the original vinyl version really is better than any of the CD incarnations.

But what the hell, a friend of mine once said that the only way to listen to early '60's Stones records was to hear them in the original mono on an ancient Dansette record player. Well, this may be true but all truly good music shines through whatever the medium.

God damn it, on a good day you can hear this on a cassette and it will still take you there because it's that good.

No need to recommend this album. It recommends itself.

Roll on review number 112.

I first listened to Relayer about six years ago and it took me some time to really get into it and appreciate the adventurious music that Yes created on Relayer. Yes' music has always been bold and larger than life...Relayer is a fine example of that.

Relayer is a rather amazing album. Gates Of Delirium is like a 22 minute rollercoaster ride...imagine that one! Filled with endless loops, corkscrews, twists, turns, and gigantic hills and valleys that eventually comes to a soothing conclusion. It is one serious wild ride for ones audio senses. Guitarist Steve Howe and bassist Chris Squire are truely at their best here.

Sound Chaser is one of Yes' most bizzare compositions. The music is harsh, experimental and on the edge. To Be Over is another exciting song. Starting off very mellow then it slowly builds up to a exciting end by Steve Howe's diverse guitar work and Jon Anderson's soaring vocals which make this song one of Yes's finest.

Keyboardist Patrick Moraz brings a very unique and distinct sound to this album, his one and only as a member of Yes. Relayer is considered to be among Yes's finest, while it's not my personal favorite it is a remarkable album.

If you are like most rock listeners, don't touch RELAYER. If, on the other hand, you are actually interested in music, give it a try. It's an acquired taste, but it's a truly amazing piece of work.

"The Gates of Delirium" - a sweeping vision of raw anger, honour, war, peace, and hope - contains more musical ideas and a wider range of emotions than most bands generate in their entire careers, and yet it hangs together perfectly. "Sound Chaser" is strongly jazz-influenced and thoroughly unpredictable on first listening. My comment on the range of musical ideas in "Gates" applies equally well here, although "Sound Chaser" doesn't have quite as much cohesiveness (and has a couple of annoying bits near the end: the only serious flaws on the album). "To Be Over" is a beautiful inspirational song. The interplay between Howe's guitar and Moraz's keyboard is not to be missed. (Unfortunately, the balance isn't quite right on some parts of this track.)

RELAYER represents a brilliant band at the peak of their creativity.

And remember, when the critics call something "pretentious", they're really just saying that it's beyond their ability to play. (Rock critics are usually wannabe musicians.)