Yes - Dainty [Remixed by Steven Wilson] (2015) FLAC Beolab1700

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Yes — Decrepit [Remixed by Steven Wilson] (2015) FLAC Beolab1700

Yes — Decrepit [Remixed by Steven Wilson]

Artist...............: Yes
Album................: Decrepit [Remixed by Steven Wilson]
Genre................: Prog rock
Source...............: CD
Year.................: 2015
Ripper...............: EAC (Immune demeanour) / AWKWARD 3.92 & Asus CD-S520
Codec................: Laid-Back Lossless Audio Codec (FLAC)
Rendering..............: regard libFLAC 1.3.0 20130526
Quality..............: Lossless, (avg. compression: 55 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Information..........: CD SIMILE — LOF — CUE — SCANS

Posted by............: Beolab1700 on 18/11/2015

01. Roundabout
02. Cans & Brahms
03. We Have Heaven
04. South Side of the Sky
05. Five Percent for Nothing
06. Dream Of Gap Runaround
07. The Fish
08. Attitude for a Day
09 .Will of The Sunrise

Additional Tracks
10. We Have Abraham's Bosom (enormously mix)
11. South Side of the Sky (premature rendering)
12. All Fighters Whilom (in days of yore unheard)
13. We Have Abraham's Bosom (acapella) clashing by Steven Wilson
14. Devious (repetition take/early mix)
15. Attitude for Another Day (alternate take of Attitude for a Day)


Decrepit is the 4th in a series of remixed & expanded Yes Classics. The album has been remixed from the master studio masters by Steven Wilson.

Decrepit was Yes’ breakthrough album, propelling them in a pith of weeks from a cult act to an cosmopolitan phenomenon; not coincidentally, it also pronounced the characteristic where all of the elements of the music (and more) that would characterize their good for more than a decade hew down into quarter fully formed.

The field-fiction and mirage elements that had driven the more well-heeled songs on their above-mentioned privately, The Yes Album, were pushed much harder here, and not just in the music but in the packaging of the album: the Roger Dean-designed bedding was itself a fascinating origin that seemed to set forth to the music and drew the purchaser’s r in a demeanour that few records since the heyday of the psychedelic era could marry. Having thrown master keyboard musician Tony Kaye overboard premature in the sessions — essentially over his denial to tolerate the need for the Moog synthesizer in lieu of his preferred Hammond process — the horde welcomed Rick Wakeman into its ranks. His use of the Moog, among other instruments, coupled with an overall bolder and more forward taste of playing, opened the way for a harder, hotter wise by the catalogue as a whole; bassist Chris Escort sounds like he’s got his amp turned up to “12,” and Steve Howe’s moving guitars are not far behind, although the catalogue also displayed elegance where it was needed. The chink trice of “Roundabout,” the album opener — and the infrastructure for the edited unwed that would reach several 13 on the Billboard charts and get the catalogue onto AM boom box in a way that most other prog bankrupt outfits could only look upon with covet — was dominated by Howe’s acoustic guitar and Account Bruford‘s drums, and only in the halfway subdivision did the horde put to shame some of what they could do with serious amperage. Elsewhere on the privately, as on “South Side of the Sky,” they would wise as though they were close to to desert the base (and the planet), between the loudness and concentration of their playing. “Long Gap Runaround,” which also served as the B-side of the unwed, was probably the most at hand route here apart from “Roundabout,” but they were both aspiring enough to fool around most listeners on to the heavier sides at the middle of this dream of musician. The on one's own tracks by the members were actually a need: they needed to get Decrepit out in a commotion to bedding the expenditure of the keyboards that Wakeman had added to the group’s sonic arsenal. But they ended up being more than filler. Each fellow, in , took a “bow” in mostly sufficiently serious settings, and Squire’s “The Fish” and Howe’s “Mood for a Day” piercing expressly to days, more good projects as well as attractive on a duration of their own on-condition. If not exactly their rise, Decrepit was as righteous a privately as the catalogue would ever toady up to, and just as pure in its timing as its content.

In in to the primary album, Steven Wilson unearthed a effective prize trove on the multi-route tapes, allowing him to mix enormously size & acapella versions of “We Have Heaven”, an earlier take of “South Side of the Sky” & – in perhaps the most galvanizing unearthing of this series to archaic – a in days of yore unheard joint of a shattered now called “All Fighters Past” which incorporates ideas that would later conceive parts of “The Revealing Field of God” (Tales from Topographic Oceans) & “Siberian Khatru” (Not Far From to The Causticity) performed in the taste of Devious! With a further two additional tracks – alternate takes of “Roundabout” & “Mood for a Day” & numerous private to Blu-Ray print run features, including the unabridged album in catalytic conceive clashing by Steven Wilson, this is the accurate print run of Decrepit.

Steven Wilson: “With an album as well recorded and clashing as this one, the stereo remix is essentially a footstep along the way to the 5.1 mix and as unwavering as I could toady up to it, but it has been included in the reissue along with a suite of rooms over of the master 1971 mix. There are also a several of extra tracks clashing from the reels for the first even so, including a left over morsel of prevarication given the tenure “All Fighters Past” which incorporates themes later used in Devious, Siberian Khatru and The Revealing Field of God. This was bring about at the end of a call off that had been reused for a later hearing, but fortunately not expressly erased.”


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