Progressive rockers Yes’ 1974 release Relayer was one of the first albums that opened my ears to what was possible in music. Pretty difficult to overstate the importance of that – especially to an impressionable teenager.

This was in the mid-70s. I didn’t know anything about Yes and hadn’t heard a single note. I was fascinated by Roger Dean’s amazing cover and bought Relayer partly for that, and partly out of curiosity to learn what these guys were about. Of course, seeing only three song titles on the back cover really piqued my curiosity.

I was blown away at once, listened to Relayer many, many times, and naturally dove into the rest of the classic Yes catalog. On my commute this morning, I heard Relayer for the first time in at least 25 years, and was almost in tears of joy. I had never forgotten it; it was just one of those things that drift out of your life somehow…

Some of those things we come back to, and find that their attraction has been lost. Relayer has lost nothing for me over time; it’s still incredible.

Gates of Delirium is one of the handful of absolute Yes masterpieces. Epic in scope, prodigious in moods, brilliantly executed, with passages of intense power and sublime beauty. It has always blown me away. This is what music is supposed to do. I began to know it then, and that conviction has only grown over the years.

Sound Chaser has the strongest fusion elements and bears the largest stamp of Patrick Moraz’ input – though the band was already well down the fusion path, as composition and arrangement for Relayer was well underway before he came on board. The three-way interplay (not to say flat-out battle) between Steve Howe, Chris Squire and Moraz just explodes all through this track, and Howe’s solo section is a gem.

To Be Over closes on a more mellow note, slowing to a pastoral and dreamy – but somehow still well-grounded – vibe. It fully embodies the opening line “We go sailing down the calming stream.” Beautifully done.

This was Patrick Moraz’ only album with Yes. Rick Wakeman is surely Yes’ Keyboardist of Destiny, but it’s tantalizing to try to imagine where Yes would have gone if they’d stuck with Moraz for a few more albums. The possibilities were surely unlimited. The next album with Wakeman, 1977’s Going for the One, was definitely another masterpiece, but Moraz’ departure closed off a path of exciting possibilities.

Yes’ best work remains a huge influence on what I do, and I expect that to be heard in my work going forward. Thanks, guys!