@AirplayBeats reacts to Yes - Gates Of Delirium Like comment and subscribe patreon.com/user?u=81569817 Airplay Beats 3609 Bradshaw Rd Ste H #337 Sacramento, CA 95827 Www.Airplaybeats.com
These pieces are meticulously written and constructed. They are absolutely played live in studio and sound exactly like the recordings when played live. Phenomenal
They are mostly written in segments and recorded in segments. After they are recorded the band then learns how to play them as one piece of music. Jon Anderson has several interviews on RU-vid where he talks about this: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-mWib02yZmKc.html
@@frankmarsh1159 I know they did that on The Yes Album. On Fragile, they wanted to record each song completely barring overdubbing instruments. They may have switched back fir Close to the Edge due to the amount of pedal steel Steve plays. You can't quickly swap in and out of that. He uses it a lot here as well.
@@johncampbell756 There are definitely overdubs on Fragile. Lots of layered guitars. Lots of layered vocal parts. Especially on "We have Heaven" Layers of keyboards, Organ, Synth and Mellotron. Chris even overdubbed guitar lines over some of his bass parts like in Roundabout.
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Lars Henning Orsted Pederson (NHOP)? Chris is a great rock bassist, but not close to the greatest bassist. Watch this--the greatest jazz guitarist, Joe Pass, with the greatest jazz bassist, NHOP. His solo begins at about 2:34 if you want to jump ahead. This is improvised at the speed of light. Buckle up.: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Q30bdy5b5-c.html
YES was definitely musical geniuses. I saw them in concert twice in the mid 70’s and this song was on there playlist. There music wasn’t for dancing it was for sitting back and absorbing there masterpieces. They were masters of the instruments.
Have always loved that about their shows. You stand at end of Firebird Suite, then maybe beginning to Roundabout at encore. The rest relax, observe, feel.
Guys they play all of this stuff live. With no overdubbing no extra band members just five band members they do it all period absolutely incredible live performances
I think the tour that was ‘in the round’ was later than ‘77. I saw the revolving stage in the spring of 1979….and saw Yes with Donovan in 1977 - both shows at the same venue.
This is the song with the most powerful message of YES. The composition of the song is perfect "Introduction to war → Start of war → Destruction → Prayer for peace". With the addition of a jazz keyboardist on this album, you can hear the improvisational interplay of sounds. They are a group of highly skilled musicians, carefully rehearsed and recorded. This is because the recording environment at that time was still in its infancy compared to today, and it was desirable to record even a large work of over 20 minutes in one shot. What is even more remarkable is that they were able to reproduce this complex music completely in a live performance. I recommend listening to the live albums "Yesshows" and "Yessongs".
Those of us who grew up with them in the 70’s all agree with that comment. Now add to that, those of us who found out back then that Steve said in an interview that he didn’t read or write musical notation. Wakeman was the Classically trained member of Yes at London’s Royal Academy. Insanely talented group to be sure.
I don't think there has ever been a more creative guitarist. In his own league. It's not just the nimbleness of his fingers, he has that unique gift to temper his dynamics to adjust and enhance the composition to sublime levels. He is uniquely amazing.
@@bellodrade He won the _Guitar Player Magazine_ Best Overall Guitarist 5 years in a row. They created their Hall of Fame for him, and then disqualified him from winning. Last I saw, only Eric Johnson and Steve Morse are in it, too.
Although their music may sound like "disconnected sections", virtually every section they play is returned to and interwoven later in the song as themes are developed (like classical music). That's why their music requires multiple listenings. Also, though some sections may have been recorded separately, they play this piece live with all the tempo changes.
Yes the greatest band on the planet play this live. Watch live shows. Amsterdam 2001 with the local youth orchestra is phenomenal and Yes they can play it live just like what your'e listening to. I like your two boys' enthusiasm. And with the greatest voice in music.
Over 40 years of listening to YES, their music still raises goose flesh. This band was so talented, definitely check out a live version of this song! You will not believe it possible but they play this all, just 5 guys.
So happy you are listening to the genius of YES, Jon Anderson’s voice is from heaven,not just the genius music, the lyrics& the album covers were world of art, Jon Anderson is an angel sent to earth, I have been a fan for 50 yrs,no one can ever come near their utter masterpieces , the more you listen, the more you get it, enjoy the journey guys ❤💕🙏
O yeah guys, those changes did happen. I saw this performed live on their first tour promoting this album Back in the 70s. You can believe it! There are plenty of U tube videos of the band performing this live, please check it out. Thanks for the reaction!
The harmony within diversity of rhythms and tones; t's called counterpoint, guys ! 😉 There are 3 songs on this album. Gates of Delirium is one song, side A, and it inspired by War and Peace by Tolstoi. But wait till you listen to Sound Chaser and To Be Over on side B. And you're right regarding the composition of songs; they said themselves that they jammed a lot and then often built their songs from different sections and adding transitions here and there ! And by the way, classical composers work that way too; they create a theme and then develop chords progression for that theme and then transitions to other themes and so on...
Rick Wakeman was Classically trained at London’s Royal Academy. Makes sense, since I was blown away as a kid in the 70’s to find out Steve Howe didn’t read music. His mind and talents worked through a great ear.
@@davidreynolds6421 So, this was Pat Moraz if memory serves. Had the good fortune of meeting them both back in the day. Regardless of which albums Rick participated, his formal education was the issue, and so Yes did have a legitimate Classically trained composer in it’s midst for much of their work. I definitely thank you David for the correction.
All the insanely great musicianship aside, these are the kinds of songs that changed lives when they came out. This album had an enormous impact on me in my high school daze.
You need to watch them do this on stage if you haven’t already. The tour was for RELAYER. The concert was mind blowing. Patrick Moraz was on keyboard and did a fantastic job. Jon lead singer; Chris bass and harmonies; Steve lead guitar; Alan drums. No engineer tricks except for a bit of war sounds. The rest is all the genius of YES.
I love this but I still like Bill Bruford and Rick Wakeman better that's my favorite incarnation of Yes.I especially miss Bruford their music just swung and was even funky at times and he and Squire were like soul brothers.
They can definitely make those transitions live.....I've seen it happen. As for the some of the sound effects that you noticed..... Alan White (drummer on this album and for many years after (RIP Alan)) explains in the liner notes of the 2003 remaster of the album. "The percussion on that song is pretty unusual," he says. "Jon and I used to travel together to Chris' home studio, where we recorded the album. We would stop at a junkyard along the way and pick up parts of cars. We'd just go there and bang on things. There were springs and pieces of metal, brake, and clutch plates. We'd buy them and bring them back to the studio. We built a rack and hung all these things off it, and we'd bang on them. During the recording I pushed the whole thing over. That crash is what you hear on the album."
The live transitions are actually even tighter live sometimes than you hear on the album. The one you mention does seem like it's pieced together, yet I've heard them perform it live several times and the linkage between the two sections is seamless. Flawless. Also, some of what seems to be synth is actually guitar. Steve Howe uses a pedal steel guitar for many of those soaring high sustain themes. There are plenty of recurring themes within the song yet they are often orchestrated differently - example: when the lyrics go "Listen, Your friends have been broken, Kill them, burn their children's laughter on to hell," that musical theme is the same as the opening theme. All in all, one of the greatest compositions and recordings of the late 20th century. In my humble opinion...!
You do need to watch this live…just as good…and “that other change”, they can do perfectly live, over and over. Seeing this band live for the first time at 15, changed my life! ❤️❤️❤️
You need to remember a lot of the tech we now take for granted just didn't exist back then. These guys had to play it straight, and they did (sorry; there was no 'click') Thank you for reminding me how lucky I was to be around when this was released.
Great reactions!!! Yes did about 4 tapes on this song. But they played the entire song through, especially in concert. Lol 😆 Hahaha. Played the whole song perfectly through all the transitions.....lol
You can find this live on the Symphonic Live video with an orchestra and yes, as others have said, it is composed like other pieces of music to depict War and Peace. Not random. Saw them in concert probably 40 times in as many years and yes, they really are that good.
It takes many listens to even begin to try to figure out how thi song was put together. To see it s performed live is next level and then with an orchestra, it’s unforgettable. Great reaction. I love how you are confused and in awe at the same time. 😊
I’ve heard them playing this one live, no engineer meddling 😊… they may have composed the pieces individually and then spliced them together for the record but if so they learned how to play the entire piece, no interruptions… hearing and seeing it was otherworldly… I heard them in a Tour around 2001 that they called the Masterworks where they played this one and Close to the Edge and The Revealing Science of God and Ritual and I believe Awaken and And you and I… flawless… magical…
The live version from "YesShows" is the definitive version. They elevate this to another level on that. Take a listen. You can literally hear thousands of fans having their minds blown.
You're right, being a yes FREAK since the mid 70's the Gates recording on there is definitive...So perfectly done...Saw them do Gates live in 1976 at JFK stadium, here in philly, at night, 300,000 people...Three day concert! I think I'm still high...:)... I've owned Shows on vinyl and CD but, in moving I lost them...Just bought Show two weeks ago from Ebay...9 bucks...
This one is a wild ride that you have to hold on tight to enjoy ! Twists and turns with an epic war of music and then turns and turns again into the Majestic endingwhich I enjoyed most of all and not to SOON!😊❤
I have seen Anderson sing Soon live and Daltrey sing “see me, hear me ….” live both at the height of their powers and I they are tied for the most beautiful singing I’ve ever heard.
Yes definitely recorded their songs on separate sessions because they were sequentially creating, recording and adding the parts as they went. Once they got to the end, and Eddie Offord had the final piece spliced on, they learned to play the whole song by listening to the finished reel. It takes high creativity and a leap of faith to record this way.. On stage they were unleashed and hit everything faster & harder like all those progressive bands in the 70s - Gentle Giant, Tull etc. No matter how challenging, everything was created to be played live.
I am another one who saw them on the first tour backing this LP - (THE Loudest Concert in my life) - and I will testify that they pulled it off, and they did so every time I saw them. Close to 50 years later and this still sounds as fresh as the first time I heard it. I hope you are still listening to this in another 50 years, and still being as impressed.
I love hearing you guys try to understand what you are hearing and what instruments they are using. they used lots of unorthodox sounds and at times instruments. these guys are such huge monster musicians that it's hard to comprehend the work they put into playing these master piece's, often in one take because on tape you really couldn't do more than a few takes before you wear out the tape! these guys are ungodly players and musicians!
I saw them perform this song live at Madison Square Garden in 1974 when they toured to promote the Relayer album. Both the Relayer and the Close To The Edge albums have only three tracks. The track on side one of each album take up the whole side. And two tracks are on side two of each album,
"The other change, they can't do that" . . . but they do, live. I've seen them about 20 times, and my first concert was in 1975 when they did the Relayer Tour with Patrick Moraz. Pretty much the same as the album. Now, I'm sure in the studio they engineered the hell out of it, but in concert, they were so accurate.
They are just genius.. a lot of genius together with a lot of good engineers of course.. but live they can play the same notes in a set with 20 insane musics.. cheers to you guys for doing such a great job!
You guys need to watch the Yes Symphonic version of this song live (2003 or 2004). A great version is available on RU-vid in 3 parts (from Mystic Rhythms channel I believe) and it is magnificent!
Its played like this LIVE too, they are so skilled they could do. Essentially it is rehearsed and played LIVE in the studio which means they can play it LIVE at a show and they can just do it! Even back then without click tracks, without in ear monitors and no backing tracks etc..
They played this live open air in the UK at a Football stadium to an outdoor audience with THOSE transitions! This is what bands as fine tuned as YES did and still can do. These are literally some of the best musicians in the world. Also this was Analogue recording no digital.
Musical poetry; both lyric and musical passages depict the build toward war, the justification for war, the jingoism, the build of hatred, the arming, the battles, death, and destruction; then the aftermath; the sadness, regret, and hope for the future. As to the the question of "punching in segments" through studio magic, I can only tell you that they've done this composition live, seamlessly. It is charted. I've had the joy of having seen them do this, along with "Close to the Edge" live and in person, many times-all of the time signature transitions and "soundscaping", in place and fluid.
Great to watch you guys react to Yes. As for watching them live I'm afraid you've missed the boat. Yes still perform but only Steve Howe of the classic lineup in the group. Two have very sadly left the world. However all is not lost!! Jon Anderson is touring right now I think with Band Geek (headed by Richie Castellano of Blue Oyster Cult) and are performing several of their biggest numbers. Band Geek are phenomenal - look them up on RU-vid - to the extent that it was Jon Anderson idea to play together once he'd heard their playing of Yes music. Just praying they get over to the UK 🤞🤞🤞🙏
In the studio yes, they created often by putting pieces together but once they solidified their ideas into the final recording, they are such incredible musicians that they could (and still do) perform this music live.
Everything was possible to do for these musicians. I saw them live 5 times in the 70' and 80' and 90'. They played exactly what you hear on the studio versions, with more power and energy. it was amazing. Sound Chaser, nnext song on this album, is even more mad.
Often times YES would have concerts on a circular, rotating stage, all seats were able to see them at many points during the concert. I saw a couple shows like this in Philadelphia in the old Spectrum facility where the Sixers and Flyers played.
Steve Howe: "There were some very difficult moments on "Gates of Delirium" where Jon was getting really excited and carried away with the battle ... the explosions and the amount of echo. I was hearing a tight group and Jon wanted to hear explosions of sound. To my ears Yes was going over the top ... and then we finished it and wanted to doctor it a bit. We were worrying about whether it was a bit too far gone or a bit too safe. One mix was safe and another was too far gone, it wasn't like there was any middle ground to get the battle. We pondered it there for a bit."
I've been listening to them since the mid 70's, saw them live some times. No one touches them musically, they are on a level all there own. Still amazed, watch them live they do it all seamlessly.
On their album "YesShows" there's a live version of this one, where they manage those transitions without the help of engineers. Same thing goes for all their most complex songs. They did them all live as well. Of course in a studio you have the opportunity to pick the best takes and splice them together, but if you have ever been to a YES concert, you would find that much splicing wasn't really necessary. They were just that great musicians !!
AMAZING thing about Chris Squier : he was able to play that crazy bass....and sing in a different key at same time : find someone else that can do it. reaction is amazing... but really, on stage, this is how they did. yes UNREAL !!!
I don't have the resource, but much of this was actually recorded live in a barn, if im not mistaken. Stuff like the crashing percussion and crazy sound fx were added later. This one was and has been a live staple for decades-they can totally do it seamlessly live, seen it happen. Keep it up, fellas, love the reactions.
Their bass player would often play as a lead 'guitar'. All of the members were virtuoso artists on their instruments, most had classical music training.
Btw, this album went to #5 in the Billlboard Top 100 in the U.S. That's when Billboard had only one chart for all of rock and pop. Went to #4 in the U.K.
This song, as is all their songs, is amazing live. You are getting into a long amazing journey with YES. Great reaction. Gates of Delerium is side one of the album. Side 2 is Sound Chaser and To Be Over.
@@johnwriter8234 Chris Squire: "After we played it on stage I was happy to put that version on the 'Yesshows' album, because by then it had taken on an identity. You could tell when we were playing the beginning that we knew where we were going!"
I saw them play this live in the summer of 1975. How they can play a song 20 minutes and night after night repeat it is unbelievable in 1975. It was not a lot of trickery and music.
