OK, first impressions…highly detailed, wider soundstage, yadda yadda, but really demonstrates just how important was Chris Squires bass playing to the overall “Yes sound” - wonderful “gravelly” sound, if perhaps a shade overdone by SW?
Nothing to really dislike so far, if maybe the occasional “oh?”.
The story goes that on their first album, the bass was over boosted in the mix. But it made such a contribution to the drive and overall sound balance that it was retained as a feature. Squire continued to develop it, and took it higher up the range, nudging into the realms of rhythm guitar in some pieces. This versatility and the ability to do it dirty and growling on demand, made him, IMO unique. I love and respect plenty of bass players and rhythm sections, but for me, Squire stands alone. Billy Sherwood and Lee Pomeroy have both done superb jobs covering Squire’s parts in live performances, but like Page, Plant and Paul Jones without Bonham Senior, you can run through it on stage but you will never make it the same again.
For a convincing example of how integral and powerful it was, listen no further than The Yes Album, and in particular Starship Trooper. But not the SW remix of the Yes Album which has the bass rolled off. The SW flat transfer of The Yes Album is the one to try. At first it’s the power and attack that grabs the attention, but the differences in how he plays the bass in different sections of the piece gives an insight into what a virtuoso player he was, even in his 20s. And he just got better, as Fragile testifies.
Chris Squire contributed more than a remarkable bass component into the yes “sound”. He had a good singing voice and his harmonies with Jon Anderson are often attributed only to the voice of Jon Anderson. You now have the opportunity to hear just how much Squire’s voice often propped up the vocals.
Yes, SW has certainly done a good job on Starship Trooper - got TYA running now 
I confess I am beginning to like these remixes, while at the same time understanding the disquiet expounded above by other Yes afficianados like Nigel (HH).
And my jury is “still out” on SW’s Warrior on the Edge of Time.
Edit: That’s The Yes Album done - verdict: I like it. the original sounds very “muddy” in comparison.
Edit 2: Fragile completed. Nothing that I dislike, and nothing that surprised me. I do like the separations of instruments, and of vocals, that SW has achieved. I really liked Roundabout - but then who wouldn’t 
So far, so good.
Of all the SW Yes Remixes I think Fragile is the most complete album.
His remixes of Close To The Edge (track, not album) and The Gates Of Delirium are for me the high points to come. I don’t know if he will do Going For The One. It may be logistically/contractually impossible. I hope he can.
I think the best thing about his remasters of CTTE and Relayer is that he included 24bit, 96kHz transfers of the original mix of each.
These are of superb quality and overall the albums I would go to. The remixed tracks which are my favourites (which will be different for everyone) are welcome bonuses and in a few cases are now my preferred versions.
Having only quite recently started to download music I was convinced by this thread to download the Wilson remix Yes tracks from HD Tracks.
A bit of a mistake as it turned out. I should have listened to my now nearly 50-year-old copies of these 5 albums first & paid more attention to my, often fulsome, praise of my LP12 on numerous posts throughout these forums.
From the off, Yours is No Disgrace was lacking Tony Kaye’s keyboards coming in over the top of the intro guitar riff & was instead relegated to a polite & recessed sound in the background. This effect was noticeable on several other tracks.
The overall mix was clear, detailed & acceptable but not as I remembered parts of it to be. Maybe it was my rather more than 50-year-old memory playing tricks?
Only one way to find out. Play my ancient copy of The Yes Album to confirm it is a muffled, thin sounding, badly mixed analogue relic of the past that I should never have wasted money, that I didn’t have at the time, on.
From the first moment two things were apparent. Firstly the volume on the download was far too quiet compared with the LP, which sounded pretty normal to me. Listening at 20 (LP) needed to be turned up to 30 for the download. Most of my other downloads are about the same volume as their LP/CD equivalents.
Secondly, the LP sounded superb. Crystal clear, full-bodied , each instrument clearly heard in the mix & Kaye’s keyboards coming in powerfully, as I am sure was originally intended.
I have only compared the one track so far & will try a couple more over the next few days to see if my view of a single track is repeated.
Turning up the volume, the HD download sounded OK but, so far, definitely no better than my vintage album copy &, on the basis of the first track, undoubtedly second to it.
Next time I am temped to download modern versions of albums I already have, I will play my copy first before deciding whether to purchase or not!
In conclusion, not a bad download if you don’t have the original albums but I think it could have been rather better & I can’t help wondering if Steve Wilson actually listened to the originals first?
Harsh, but right on the money 
Wilson overrated in my book.
No turntable operative at the moment, so I compared the Qobuz streamed versions of this track, and you’re dead right. One of those genuinely WOW moments at hearing this at the time has rather become OK, but not in the same league.
I then (and still am) played my rip of the Mobile Fidelity CD. It’s still the best sound quality I’ve ever heard from a CD.
I hadn’t noticed it either, but comparing the SW mix with my remastered CD (Joe Gastwirt, 1994?) does show it up. I might have to fire up the Sondek tomorrow, and listen to the original LP.
Pleased that I was not imagining the missing ‘WOW’ moment as Nick so aptly describes it. Your comments have made me wonder even more exactly what was wrong with the original recordings that Steve Wilson felt he could improve on.
As already said, the mix is clean, with a well balanced bass, mid range & treble although overall, too quiet in my view. He just seems to have missed the vital elements that make the music exiting. The whole thing sounding a touch sterile. I find it hard to imagine that he would choose his mix over the original in a blind test.
I can’t knock it too much as my observations are all based on a direct comparison of a single track. I will need to compare other tracks with my near 50 year old original vinyl copies.
Maybe that SW is a guitarist, and would favour guitar and bass over keyboards? I commented earlier how he really brought Squire’s bass to the fore. But the missing impact of Banks’ keyboards first few chords into YIND is obvious when it’s pointed out; you were certainly not imagining it. 
Not sure what state your 50 year old copy of TYA is in, but mine of same vintage was played for many years on a rotary chisel! (I have a feeling it was the second album I bought after The Beach Boys “Greatest Hits” - Gawd, are we gettin’ old”)
Tony Kaye would be a bit upset too
It’s still there but just not as loud as it should be, thereby losing impact.
My copy is in good condition, as are all my albums. I didn’t take special care of them but didn’t abuse them either. Straight back into sleeves as soon as removed from TT.
Only a very few were played on anything less than a, decent, Garrard TT.
See here for my hi Fi history -
https://community.naimaudio.com/t/my-60-year-system-journey-in-pictures/164460
I haver never cleaned an LP but did have, what I now consider, the good foresight to put all my albums in antistatic inner sleeves from purchase, which have brilliantly stood the test of time with some having remained undisturbed in their sleeves, stored upright in a cupboard, for 20 years or more.
Hi all,
I recommend anyone interested in remixes of classic albums to listen to Bob Lefsetz’ podcast interview with Steven Wilson.
It’s been a while, but my recollection is that:
SW remixes in stereo as a step in process of creating the surround mix, and they started releasing them by popular demand
He makes very little money from these mixes because they don’t sell very many copies so budgets are tight, and he would do it for nothing if there was no money (who wouldn’t want to play with the master tapes of their favourite albums)
He tries to mix in stereo as closely as possible to the original but the notes are often missing and many of the people around, back in the day, are no longer available
The one to get is Aqualung because it was originally mixed on a faulty machine with the tape out of alignment
I would also add that these deluxe editions usually include hi-res flat transfers and stereo mixes , as well as surround remixes and bonus tracks, plus often excellent liner notes. Most are not prohibitively expense, so taking all of this into account, what’s not to like? I wish Genesis would take the same approach, rather then replacing the original masters with Nick Davis’s efforts.
Again, the podcast is quite interesting, regardless of opinions on SW’s own musical achievements.
Keith
What Keith said.
The original Atlantic vinyl release in the UK was a tough act to follow. It’s one of the best mass produced, high street sold, LPs I ever bought. No CD came close until MFSL nailed it. To my ears the SW effort is better still.
Not his remixes. The whole point of a remix is that it sounds different. If you are familiar with the original it is going to strike you oddly. I only like a few of Wilson’s reimagined efforts because to me, most of his remixes subtract vital elements from the originals that I know and love.
The reason I personally rate the SW catalogue is because of the flat transfers. With a couple of exceptions they are outstanding. As far as The Yes Album goes, Wilson’s remixes sound awful to me. But his flat transfer is the best version of this album I have at the moment.
Most of the discussion seems to be about TYA. The whole project going up to TFTO contains a huge body of material, all of it superb in places, including some remixes that to my ears sound better than the originals - but not many.
I would be wary of downloading them. They may be fine but the labels have a habit of messing up stuff post production. The DVD/BD boxes contain the right stuff for sure (except Aqualung).
Hi Harry,
I hope all is well with you. Your 252 is still providing entertainment and enjoyment here 
I’m a big fan of Steven Wilson and Porcupine Tree, but I rarely listen to his classic album remixes (except Aqualung) and his surround mixes are too much for me. I prefer the more subtle approach, whereas he literally surrounds you with music. You need a really good system with matching speakers all around to match the stereo system. Ours is perfectly fine for TV and movies but suffers in comparison to the stereo with music.
Keith
Hi Keith.
We are doing well. We hope your and yours are likewise. It’s so good to know that our pre lives in a home that appreciates it. We were sorry to see it go because of all the enjoyment it brought us, but when opportunity knocks…
I also think there just isn’t enough of Steve Wilson to go round. He should be cloned. Our Soundbar/Sub does a nice job for the telly and can throw sounds about a bit, but bleeding edge it ain’t. We have no interest in that direction past basic fitness for purpose and have never attempted to sample any surround mixes. Most of the concert music we watch on DVD/BD/Freeview is so badly recorded and compressed that it wouldn’t make any difference anyway.
All the best.
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