YES – Relayer 12" Vinyl LP Album

- A 1974 prog-rock odyssey of chaos, beauty, and war

Album Front Cover Photo of YES – Relayer Visit: https://vinyl-records.nl/

“Relayer” is where Yes tossed all safety nets aside. Released in 1974, it’s a storm of sound—part battle hymn, part meditation. Jon Anderson leads the charge, Steve Howe’s guitars duel like fencers in a cathedral, and Patrick Moraz’s wild keyboards slice through the air like jazz shrapnel. Produced by Eddie Offord and wrapped in Roger Dean’s monochrome dreamscape, this LP stands as Yes at their most daring—half chaos, half transcendence, all glory pressed into twelve inches of vinyl.

Table of Contents

"Relayer" Album Description:

YES and the Mid-Seventies Progressive Rock Landscape

In 1974, the world of progressive rock stood at a crossroads. The countercultural optimism of the late 1960s had cooled into the introspection of the mid-1970s. Britain’s economic turbulence, energy crises, and industrial unrest created a darker, more introspective cultural tone. Against this backdrop, Yes—already one of the era’s most ambitious bands—released Relayer, a sprawling and experimental work that pushed even their own complex boundaries.

The progressive rock movement had reached its creative peak by this time, with monumental releases from Genesis (The Lamb Lies Down on Broadway), King Crimson (Red), and Pink Floyd (Wish You Were Here approaching). These bands competed not only in musicianship but in vision—each album a statement of sonic architecture. Yes, fresh from the lush symphonies of Tales from Topographic Oceans, chose to strip their sound to a more abrasive, chaotic brilliance.

The Genre: Symphonic Precision Meets Jazz Experimentation

Relayer belongs to the golden age of British progressive rock—a genre that fused classical structures, jazz improvisation, and surreal lyrics into long-form compositions. Unlike American or German prog, British prog favored grand thematic concepts and philosophical overtones. Yes was part of this vanguard, alongside bands like Emerson, Lake & Palmer, Camel, Gentle Giant, and Genesis.

While earlier Yes albums like Close to the Edge displayed ornate symphonic textures, Relayer took a more daring approach: it injected jazz fusion and avant-garde tension. The album’s centerpiece, “The Gates of Delirium,” unfolds as a 22-minute sonic battle that channels both chaos and transcendence, reflecting the band’s deep fascination with musical structure as metaphor for human conflict.

Musical Exploration and Conceptual Ambition

Musically, Relayer is defined by its dense layers and unorthodox time signatures. “The Gates of Delirium” was inspired by Tolstoy’s War and Peace, with sections of rhythmic warfare followed by a serene resolution in “Soon.” Side two shifts in tone: “Sound Chaser” is a whirlwind of fusion drumming, rapid-fire guitar lines, and Patrick Moraz’s frantic keyboards, while “To Be Over” closes the album with meditative beauty, offering release from the preceding intensity.

This constant oscillation between turmoil and calm mirrored the band's own internal dynamics—Yes was a group of perfectionists, pushing their creative process to near-collapse. The recording environment at Eddie Offord’s mobile studio in late summer 1974 was charged with pressure, experimentation, and improvisation. Each take could last hours; perfection was both the goal and the curse.

The People Behind Relayer

The album was produced by the band themselves alongside engineer Eddie Offord, often referred to as the “sixth member of Yes.” His sonic fingerprints—crisp clarity amid controlled chaos—had already defined Fragile and Close to the Edge. Keyboardist Patrick Moraz, newly recruited after Rick Wakeman’s departure, brought a fresh palette to the band’s sound. His background in Swiss jazz fusion gave Relayer its angular harmonic sensibility and kinetic keyboard passages.

Jon Anderson’s vocals carried the band’s mystical vision, while Steve Howe’s guitar work reached new levels of textural depth, ranging from flamenco flourishes to distorted feedback crescendos. Bassist Chris Squire anchored the chaos with his distinctive Rickenbacker tone, and drummer Alan White delivered percussive fireworks that fused power with precision.

Line-up Shifts and the Evolution of Yes

By 1974, Yes had already seen several key changes. Founding member Peter Banks was long gone, replaced by Steve Howe; Rick Wakeman, after creative disagreements over the excesses of Tales from Topographic Oceans, departed mid-tour. His absence left a gap filled by Patrick Moraz, whose arrival marked one of the band’s most dramatic stylistic pivots. This version of Yes—Anderson, Howe, Squire, White, and Moraz—was perhaps their most daring, willing to fracture their own formula in pursuit of musical expansion.

The resulting sound was both exhilarating and divisive. Critics praised the band’s virtuosity but often questioned whether the complexity had overtaken emotional coherence. Yet for fans of progressive rock, Relayer embodied exactly what made the genre so compelling: fearless innovation, narrative depth, and instrumental brilliance.

Controversy and Critical Division

Upon release, Relayer polarized audiences. Some hailed it as a masterpiece of controlled madness—a logical progression from Close to the Edge—while others found it impenetrable. The dense mix, abstract lyrics, and relentless technicality alienated casual listeners. Even within the band, tensions simmered: Wakeman publicly criticized the direction Yes had taken, dismissing the album’s experimentalism as self-indulgent. Meanwhile, die-hard fans embraced it as one of the most daring statements in Yes’s catalog.

The controversy only strengthened the album’s cult status. Over time, Relayer came to be recognized as the band’s most adventurous work—an audacious experiment at the peak of progressive rock’s creative explosion, just before punk and new wave would strip rock back to its bones.

Legacy of Sound and Vision

Roger Dean’s gatefold artwork for Relayer remains one of the most iconic images in rock history—a monochrome dreamscape of towering stone and armored riders, reflecting both conflict and transcendence. It encapsulated the essence of Yes’s music: a fusion of the fantastical and the human, where architecture meets sound and imagination defies gravity.

Today, Relayer stands as a time capsule from 1974—a moment when rock dared to think symphonically, play fearlessly, and believe that sound could still build worlds. It was not just another Yes album; it was a statement that complexity and emotion could coexist, and that even amidst turmoil, beauty could emerge from delirium.

Snakes are coiled upon the granite.
Horsemen ride into the west.
Moons are rising on the planet
where the worst must suffer like the rest.

Pears are ripe and peaches falling.
Suns are setting in the east.
Women wail, and men are calling
to the god that’s in them, and to the beast.

Love is waiting for a lover.
Generations kneel for peace.
What men lose, Man will recover
polishing the brains his bones release.

Truth conceals itself in error.
History reveals its face:
days of ecstasy and terror
invent the future that invents the race.

Donald Lehmkuhl
October 1974

Production & Recording Information:

Music Genre:

British Progressive Rock

British Progressive Rock of the 1970s blended symphonic structures, complex time signatures, and philosophical lyrics. Bands like Genesis, King Crimson, and Emerson, Lake & Palmer pioneered this genre alongside Yes, merging classical precision with rock experimentation and spiritual themes.

Label & Catalognr:

Atlantic Records – Cat#: ATL 50 096 (U) (Made in Germany)

Album Packaging

Gatefold (Fold Open Cover) with artwork and photos on the inside cover pages.

Printed in Holland by Sherwood Packaging.

Media Format:

12" LP Vinyl Stereo Gramophone Record
Total Album (Cover + Record) weight: 280g

Year & Country:

1974 – Made in Germany

Collector Notes / Liner Notes
  • 1: The 1974 studio album Relayer stands as one of Yes’s boldest statements, containing only three compositions — each a sprawling work of progressive rock architecture led by the 22-minute epic “The Gates of Delirium.”
  • 2: Issued as a 12" LP on Atlantic Records, the album is housed in a stunning gatefold cover designed by Roger Dean, whose surreal artwork perfectly mirrors the album’s intricate musical landscapes.
  • 3: The back cover lists the concise track sequence and complete production credits, including Eddie Offord’s hallmark engineering and the brief yet pivotal participation of keyboardist Patrick Moraz.
  • 4: The gatefold’s interior reveals Dean’s detailed monochrome vistas, creating a visual narrative that enhances the album’s conceptual scope and reinforces its reputation as a prog-rock collector’s treasure.
  • 5: Early German and Dutch pressings are prized among collectors for their print clarity and high-quality vinyl weight (approx. 280 grams), making them desirable both for sound and presentation.
Producers:
  • Yes – Band Production
    The band’s self-production reflected full creative control over arrangements and sound direction, a hallmark of their mid-1970s work. Each member contributed to the intricate structure and textural dynamics of the recording.
  • Eddie Offord – Producer and Engineer
    Eddie Offord was integral to Yes’s signature sound, known for capturing clarity and depth in complex multi-instrumental recordings. He also engineered classic albums by Emerson, Lake & Palmer, helping define the sonic gold standard of 1970s progressive rock production.
Sound & Recording Engineers:
  • Genaro Rippo – Sound Engineer
    Genaro Rippo worked closely with Eddie Offord’s mobile recording unit, ensuring technical precision during Yes’s complex studio sessions. His collaboration supported the layered instrumentation and fluid dynamics of Relayer.
Recording Location:

Recorded on Eddie Offord’s mobile equipment in England during late summer and autumn 1974, a period that captured the band at their creative peak amidst a wave of experimental British rock innovation.

Mixing Studio & Location:

Advision Studios, London, England

Advision Studios was a cornerstone of progressive rock production in the 1970s, hosting sessions for bands such as Gentle Giant and Jethro Tull. The studio’s cutting-edge equipment allowed for the intricate soundscapes heard on Relayer.
Album Cover Design & Artwork:
Liner Notes:

Liner Notes by: Donald Lehmkuhl

Donald Lehmkuhl was a British writer and editor best known for his collaborations with Roger Dean—the visionary artist behind many of Yes’s album covers. Lehmkuhl co-authored The Album Cover Album (1977) and Magnetic Storm (1984), both richly illustrated books that explored fantasy art, surrealism, and science-fiction imagery in the context of music and culture.

He also wrote poetry and short prose in the 1970s, often published in connection with album artwork or Dean’s Paper Tiger imprint. The poem you found inside Yes – Relayer (dated October 1974) fits his recurring themes: myth, time, human struggle, and renewal.

Lehmkuhl wasn’t a musician but part of the Roger Dean design circle, providing the literary and philosophical backbone to the visual mythology that surrounded bands like Yes and Asia.

Photography:
  • Jean Ristori – Album Photography
    Jean Ristori was a Swiss engineer, musician, and photographer known for his collaborations with Patrick Moraz and other European rock artists. His visual work on Relayer complemented the album’s atmospheric and surreal tone. (Sometimes his name has been misspelled as Jean Ristory)

Coordination & Additional Credits:

Coordination:

Brian Lane – Project Coordinator

Artwork Assembly:

Mike Allison – Paste-up & Graphic Preparation

Band Members / Musicians:

Band Line-up (Part 1):
  • Jon Anderson – Lead Vocals

    Jon Anderson, born on 25 October 1944, in Accrington, Lancashire, England, is a British musician, singer, and songwriter. He is best known as the lead vocalist and lyricist of the progressive rock band Yes, and has made significant contributions to the world of music throughout his career.

    more...

    From a young age, Anderson displayed a deep passion for music. He started playing the guitar and honing his vocal skills while still in his teenage years. He became involved with various local bands, performing at small venues and events. This early experience helped him develop his musical abilities and establish a strong foundation for his future endeavors.

    Anderson's musical talents expanded beyond the guitar and vocals as he also learned to play the bass and drums. This versatility allowed him to explore different aspects of music and develop a unique style that would later define his contributions to Yes and his solo career.

    In the late 1960s, Anderson's career took a significant turn when he joined the progressive rock band Yes as the lead vocalist. His distinctive voice, characterized by its soaring range and emotional expressiveness, became one of the defining features of the band's sound. Anderson's lyrics, often inspired by spirituality, nature, and human connections, added a poetic and introspective dimension to Yes' music.

    With Anderson at the helm, Yes achieved great success and critical acclaim. They released a series of influential albums, including "Fragile", "Close to the Edge", and "Going for the One", which showcased the band's virtuosity and progressive sound. Hits such as "Roundabout" and "Owner of a Lonely Heart" further solidified Yes' place in the world of rock music.

    Anderson's tenure with Yes lasted for several decades, during which the band went through various lineup changes and creative evolutions. However, his distinct voice and songwriting style remained a constant, contributing to the band's enduring popularity and legacy.

    In addition to his work with Yes, Anderson embarked on a successful solo career. He released numerous albums, often exploring diverse musical styles and collaborating with other renowned artists. His solo endeavors allowed him to further express his artistic vision and experiment with different sounds and genres.

    Beyond his musical pursuits, Anderson has also been involved in various philanthropic and environmental initiatives. He is an advocate for peace and harmony, using his music to inspire positive change and unity among people.

  • Steve Howe – Acoustic & Electric Guitars, Backing Vocals
    Steve Howe joined Yes in 1970 and immediately transformed their sound. A master of both classical and electric guitar, his intricate playing can be heard on classics like Starship Trooper and Roundabout. Howe’s versatility bridged rock, jazz, and folk, establishing him among the most respected guitarists in the progressive rock movement.
  • Patrick Moraz – Keyboards and Synthesizers
    Patrick Moraz, a Swiss keyboard virtuoso, joined Yes for Relayer following Rick Wakeman’s departure. His background in jazz fusion brought an edgier, more rhythmic intensity to the band’s sound. After Yes, he went on to play with The Moody Blues and develop a diverse solo career blending world music and synthesizer innovation.
Band Line-up (Part 2):
  • Chris Squire – Bass Guitar and Backing Vocals
    Chris Squire, the only constant member of Yes until his passing in 2015, was known for his bright, melodic bass tone and complex rhythmic phrasing. His Rickenbacker bass defined the group’s sonic depth, and his vocal harmonies gave richness to Yes’s layered sound. Albums like Fragile and Going for the One highlight his distinctive style.
  • Alan White – Drums and Percussion
    Alan White joined Yes in 1972, stepping in after Bill Bruford’s departure. Already known for performing with John Lennon and George Harrison, White’s muscular yet fluid drumming brought power and precision to Yes’s music. His debut on Tales from Topographic Oceans and continued contributions through Relayer solidified his legacy as one of progressive rock’s most reliable percussionists.

Keyboard Revolution in the Yes Universe

When Rick Wakeman walked out of Yes in 1974—fed up with endless takes, spiritual detours, and vegetarian curry backstage—the band’s celestial machinery lost its most flamboyant pilot. Wakeman preferred fire and melody over mysticism and forty-minute movements.

Enter Patrick Moraz: a Swiss jazz-fusion storm who plugged his Moog into the chaos and sent *Relayer* spinning into uncharted space. His furious runs and angular harmonies turned the band’s polished cathedral sound into something more like a high-speed sonic labyrinth—proving that sometimes, the best way to keep Yes alive was to replace precision with madness.

Complete Track-listing:

Tracklisting Side One:
  1. "The Gates of Delirium" (21:50)
    A monumental 22-minute epic inspired by Tolstoy’s War and Peace. The composition shifts through structured chaos to the gentle finale “Soon,” symbolizing resolution after conflict.
Tracklisting Side Two:
  1. "Sound Chaser" (9:26)
    A frenetic fusion of rock and jazz characterized by Patrick Moraz’s high-velocity keyboards and Alan White’s complex drumming.
  2. "To Be Over"
    A serene closing piece combining pastoral melodies, fluid guitar lines, and introspective vocals—an emotional counterpart to the album’s earlier intensity.
Album Front Cover Photo
Front cover of Yes’s 1974 album Relayer, painted by Roger Dean. The scene depicts an immense, surreal canyon of pale, stone-like cliffs that twist upward in organic folds, resembling both geological formations and living structures. Three armored horsemen ride cautiously across a narrow natural bridge, dwarfed by the towering, cathedral-like landscape that fades into a misty horizon. The color palette is dominated by silvers, greys, and ivory tones, evoking both serenity and tension—a visual echo of the album’s fusion of chaos and beauty.

The album cover of YES – Relayer is one of Roger Dean’s most haunting and intricate works of surreal landscape art. It portrays an immense stone canyon formed by towering, fluted rock pillars that curve and twist like frozen drapery. The formations rise impossibly high, suggesting both natural erosion and architectural design—half cliff, half cathedral.

At the center of the image, a narrow, arched stone bridge spans a chasm. Three armored riders on pale horses cross it cautiously, their figures minute against the monumental backdrop. They appear to be travelers in a dreamlike world, dwarfed by the grandeur of their environment, suggesting both fragility and heroism.

The composition is almost monochromatic, rendered in subdued hues of grey, ivory, and silver, with subtle shading that conveys light diffused through mist. The design’s stillness mirrors the introspective, symphonic sound of Relayer itself—at once serene, otherworldly, and charged with quiet tension.

The typography of the word Relayer appears at the top in stylized medieval script, while the band’s distinctive YES logo floats beneath it in gold and white. The entire image seems suspended between architecture, sculpture, and fantasy—an imaginative translation of the music’s fusion of precision, chaos, and transcendence.

Album Back Cover Photo
Back cover of Yes’s 1974 album Relayer, created by Roger Dean. The scene depicts a coiled serpent resting among moss-speckled rocks at the base of immense, cathedral-like stone formations. Its scales shimmer with dark browns and muted greens, while its raised head and yellow underbelly stand out against the pale, sculpted cliffs that rise in the background. Above, light filters through a natural archway, giving the landscape a ghostly luminescence. The composition feels tense yet still, a moment of watchful calm within an alien, frozen world — a perfect visual counterpoint to the album’s shifting moods between chaos and serenity.

The back cover of YES – Relayer continues Roger Dean’s vast and dreamlike world, now focusing on a quieter but more ominous scene. A coiled serpent dominates the foreground, its body thick and scaled in muted tones of brown and olive. Its head rises alertly, fangs bared, framed by the vast pale cliffs behind it.

The background is composed of towering geological forms that appear both carved by nature and shaped by architecture. Their fluted white surfaces and flowing ridges rise into an otherworldly vault, catching faint light that seeps through a jagged oval opening in the rock wall. The balance of shadow and illumination gives the composition an ethereal calm.

The serpent’s poised stillness introduces tension, an emblem of latent danger and the cyclical nature of struggle — themes echoing through The Gates of Delirium and the album’s lyrical dualities of peace and conflict. Dean’s restrained color palette of greys, creams, and earth hues connects seamlessly with the front cover’s world, completing the mythic landscape as a unified visual narrative.

Printed with the Atlantic Records catalog number ATL 50 096 (U) in the upper right corner, this back cover merges fine art precision with symbolic resonance, underscoring how Dean’s imagery became inseparable from Yes’s sonic imagination.

Inside Gatefold Cover – Left Panel
Left inside gatefold panel of YES – Relayer, showing a monochrome photograph of the five band members—Jon Anderson, Steve Howe, Chris Squire, Alan White, and Patrick Moraz—seated outdoors in a relaxed, contemplative pose beneath a clear sky. The image is set within a blue gradient background that fades from deep indigo at the top to pale blue below. Above the photo, the YES logo appears in metallic silver, followed by the band members’ names. Beneath the image, the word 'Relayer' is rendered in stylized lightning-like typography, accompanied by the track list for both sides, detailed production and recording credits, and Roger Dean’s small gryphon emblem at the lower right, completing the serene, artfully balanced interior design of the gatefold.

The left interior panel of the Relayer gatefold presents a carefully composed design blending photography, typography, and Roger Dean’s restrained fantasy aesthetic. The soft blue gradient background frames a sepia-toned photo of Yes’s lineup—Jon Anderson, Steve Howe, Chris Squire, Alan White, and new keyboardist Patrick Moraz—relaxing together in natural light.

Above the image shines the metallic YES logo, followed by each member’s name in fine print. Below, the album title Relayer appears in stylized lightning-bolt typography, leading into the concise track listing and full production credits for Eddie Offord’s 1974 sessions.

Roger Dean’s small brown gryphon symbol anchors the bottom corner, maintaining the visual mythology that runs through Yes’s classic 1970s albums. This inside-left gatefold panel serves as both an informational page and a visual bridge between the record’s artwork and its music.

Inside Gatefold Cover – Right Panel
Right inside gatefold panel of YES – Relayer, featuring a minimalist blue gradient background transitioning from deep indigo at the top to pale sky at the bottom. Near the upper right, two softly shaded moons hover, adding a celestial stillness to the composition. Centered on the panel is a poem by Donald Lehmkuhl, printed in small serif type and dated October 1974. The poem’s themes—cycles of destruction and renewal, peace and terror—reflect the album’s conceptual tone. There are no figures or architectural forms here, only atmosphere and words, leaving the viewer suspended in calm space after the left panel’s dense imagery.

The right interior panel of the Relayer gatefold is serene and uncluttered, dominated by a gradient wash that fades from deep cosmic blue at the top to a gentle misty white near the bottom. Two faint moons drift in the upper right, lending a quiet planetary depth to the otherwise abstract expanse.

Centered on the page is a poem by Donald Lehmkuhl, dated October 1974, printed in understated serif type. Its verses speak of human struggle, cosmic cycles, and the tension between knowledge and faith — themes mirroring the album’s lyrical and musical explorations.

The absence of figures or structures gives this page a meditative stillness, serving as a poetic and visual counterbalance to Roger Dean’s intricate fantasy landscapes on the opposite panel. It transforms the gatefold’s right side into a moment of reflection within the broader visual symphony of Relayer.

Close-up of Side One Record Label
Close up of Side One record’s label
Close up of Side One label for Relayer

The record label displays the classic Atlantic Records orange and green color scheme, with catalog number ATL 50 096 (U) printed along the perimeter.

Clear black typography lists the album title, band name, and track divisions. This label design was standard for Atlantic’s mid-1970s European pressings, prized by collectors for their distinctive layout and durability.

German Label
Colours
Orange, green, white, black text
Design & Layout
Atlantic Records "Wavy/Broken A Z" logo design, used for mid-1970s European/German pressings
Record company logo
Atlantic Records "wavy" logo (stylized A and Z), used as the record company's trademark
Band/Performer logo
YES logo (Roger Dean design) prominently displayed
Unique features
Includes the German rights society GEMA in a box; rim text includes "Made in Germany" and "Musik GmbH"
Side designation
SIDE ONE
Rights society
GEMA
Catalogue number
ATL 50 096 (U) (Primary) and (50 096-A) (Matrix/Side ID)
Rim text language
English (with "Made in Germany" and "Musik GmbH")
Track list layout
Single track: 1. The Gates Of Delirium (21:50)
Rights info placement
Copyright year "℗ 1974 Atlantic Recording Corp." placed directly below production credits
Pressing info
Rim text at bottom states "Made in Germany"
Background image
N/A (Standard label design)

"Beyond the Edge: The Complete Vinyl Discography of Yes, the Progressive Rock Legends"

YES - 90125
Thumbnail of YES - 90125 album front cover

ATCO , 1983 , UK

90125 is the eleventh studio album from the English progressive rock band Yes, released in 1983 on Atco Records. It was the first studio album since their breakup in 1980. It is also the first album to feature Trevor Rabin, and features the return of vocalist Jon Anderson, who had quit the band in 1980.

90125 12" Vinyl LP Album
YES - Owner of a Lonely Heart Special Dance Remix
Thumbnail of YES - Owner of a Lonely Heart Special Dance Remix album front cover

ATCO 79-6976 , 1983 , Germany

The Special Dance Remix 12" Maxi version of "Owner of a Lonely Heart" was a popular dance version of the song, released in 1984. This remix version features an extended dance beat, enhanced percussion, and additional electronic effects, giving the song a more club-friendly sound.

Owner of a Lonely Heart Special Dance Remix 12" Maxi Single
Updated YES - Relayer Gatefold Cover 12 inch LP Vinyl Album front cover https://vinyl-records.nl
YES - Relayer

Released in 1974, Relayer is the seventh studio album by English progressive rock band Yes. The record marks the brief but influential tenure of keyboardist Patrick Moraz, whose jazz-inflected style pushed the group toward a more experimental, symphonic sound. Produced by Yes and Eddie Offord, it remains one of the band’s most ambitious works.

YES - Tales from Topographics Oceans (French & German Release)
Thumbnail of YES - Tales from Topographics Oceans album front cover

 

This is the German release of "Tales from Topographics Oceans" is the sixth studio album from the English progressive rock band Yes. Presented as a double album with one track on each side, its concept is based on singer Jon Anderson's interpretation of four Shastric scriptures from a footnote in Autobiography of a Yogi by Paramahansa Yogananda

- Tales from Topographic Oceans (France) - Tales from Topographics Oceans (German Release)
YES - The Yes Album
Thumbnail of YES - The Yes Album front cover

Atlantic 40 106 (K40106) , 1971 , Made in Germany

"The Yes Album" is the 1971 studio album by the English Progressive Rock band "YES", it was their first record with Steve Howe on guitars. This web-page has hi-res photos of the album covers, record label and a detailed description.

The Yes Album 12" Vinyl LP
YES - Yessongs
Thumbnail of YES - Yessongs album front cover

Atlantic 60 045 (60045) , 1973 , Germany

Yessongs is a live triple album by the British progressive rock band Yes, released in 1973. The album was recorded during Yes' Close to the Edge Tour in 1972, and features material from their first four studio albums: "Yes," "Time and a Word," "The Yes Album," and "Fragile."

Yessongs 12" 3LP
YES - Yesstory
Thumbnail of YES - Yesstory album front cover

ATCO 7567-91747 , 1991 , Made in Germany

Yesstory is the studio album by the Melodic Prog Rock band YES is a three-lp set , released in 1992. This web-page has hi-res photos of the album covers, record label and a detailed description.

Yesstory 12" 3LP
YES - Yesterdays
Thumbnail of YES . Yesterdays album front cover

Atlantic ATL 50 048 (ATL 50048) , 1974 , Made in Germany

Yesterdays is the first compilation album by the English progressive rock band YES. This web-page has hi-res photos of the album covers, record label and a detailed description.

Yesterdays 12" Vinyl LP