Relayer is the seventh studio album by the English progressive rock band Yes, released in November 1974 by Atlantic Records. After keyboardist Rick Wakeman left the group in May 1974 over disagreements with the band's direction following their double concept album Tales from Topographic Oceans (1973), Yes entered rehearsals as a four-piece in Buckinghamshire. They auditioned several musicians, including Greek keyboardist and composer Vangelis, before settling with Swiss musician Patrick Moraz of Refugee who incorporated elements of funk and jazz fusion to the album. Relayer is formed of three tracks, with "The Gates of Delirium" on side one and "Sound Chaser" and "To Be Over" on side two.
Relayer received a mixed to positive reception from contemporary and retrospective critics. It reached No. 4 on the UK Albums Chart and No. 5 on the US Billboard 200. A single of the closing section of "The Gates of Delirium", titled "Soon", was released in January 1975. After touring in support of the album between November 1974 and July 1975, Yes went on a year-long hiatus. Relayer continued to sell, and is certified gold by the Recording Industry Association of America (RIAA) for selling over 500,000 copies in the US. It was remastered in 2003 and in 2014, both with previously unreleased tracks; the latter includes new stereo and 5.1 surround sound mixes and additional tracks.
Background
In April 1974, the Yes line-up of singer Jon Anderson, bassist Chris Squire, guitarist Steve Howe, keyboardist Rick Wakeman, and drummer Alan White wrapped their 1973–1974 tour in support of their previous album, Tales from Topographic Oceans (1973). The album had been a success for the band, reaching number one in the UK for two weeks, and became the first to be certified gold by the British Phonographic Industry based solely on pre-orders. Despite the group's success, during recording, Wakeman informed the band of his decision to leave at its conclusion following his disagreements and frustration with the direction the band had taken with the album, with its esoteric concept and its double length which he believed caused the material to suffer as a result. His exit was made public on 8 June, and he resumed his solo career.
Reduced to a four-piece, Yes retreated to Farmyard Studios, a rehearsal and recording facility owned by drummer Trevor Morais in Little Chalfont, Buckinghamshire, and worked on new songs. After some material had been arranged, auditions for a new keyboardist began and around eight players were contacted for an audition, including Jean Roussel, Eddie Jobson, Nick Glennie-Smith, and Greek musician and composer Vangelis. Others were flown in from the US and Germany. Anderson was a fan of Vangelis and visited his Paris flat several months earlier when Yes were in town performing Tales from Topographic Oceans. Vangelis agreed to an audition and shipped his keyboards to the rehearsal studio, but the group discovered he was non-committal to the role and too strong a personality for a group. Atlantic Records vice president Phil Carson added that his fear of flying caused further complications, and a subsequent rejection from the Musicians Union ended the possibility of Vangelis joining the band. Soon after, Melody Maker reporter Chris Welch suggested that the band try Patrick Moraz, a Swiss musician and film composer with a background in jazz and classical music, and a member of the progressive and jazz fusion trio Refugee. Less than a week later, Moraz accepted an invitation from Brian Lane, the band's manager, to an audition. Moraz was a fan of the band and had previously met them during their tour of Switzerland in 1969.
Moraz auditioned with Yes during the first week of August 1974. He arrived at Farmyard Studios early and saw each member arrive in his own expensive car. He said: "Coming from Refugee, where we had been walking three miles to and from our rehearsal place ... it was quite a contrast!" Moraz auditioned with Vangelis's keyboards which were still situated in the studio. After tuning up, he played some parts to display his ability, including a short section of "And You and I" from Close to the Edge (1972), causing the band to stop talking and gather around him. Moraz's first task was to devise a section to complement what they had written for the middle section of "Sound Chaser". The band liked what Moraz had played, and the following day, Lane informed him that Yes wished for him to join full-time. Moraz felt some pressure to deliver, and drove from his flat in Earl's Court near central London to the studio each day to record and learn the band's repertoire.