Tolstoy, but instead had a side-long track inspired by the novel. Moraz recalled discussing War and Peace with Anderson, as they had both read the book, after which Moraz showed Anderson a copy of the French science fiction comic Delirius by Philippe Druillet. Moraz said, "He related to it immediately so I think that perhaps as a title 'The Gates of Delirium' came from that". The song originated from an idea that Anderson had come up with and played to the group on the piano "very badly", so he was relieved when his bandmates understood what he was trying to do. Anderson and Howe kept track of its structure by recording sections of it on cassette tapes, leaving Anderson to figure out the next part as the group would develop what was put down prior. The song was recorded in sections at a time, though the group was familiar with the entire piece beforehand and spent several weeks recording takes of each section and selecting the ones the members felt were the strongest. Once picked, the sections were edited together and overdubs were then recorded. The battle section includes crashing sound effects that were created by White pushing over a tower of used car parts that he and Anderson had collected from a scrap yard. Howe remembered Anderson becoming too excited in what he envisaged the battle to be, leading the group to produce one mix that was "too far gone" and another "too safe". Following the battle, the track concludes with a gentle song that later became known as "Soon". Anderson later thought that the song did not come across effectively on record, but fared better in concert. Side two "Sound Chaser" displays Yes' experiment with jazz fusion and funk influences. During Moraz's audition session with the band, he was asked to play an introduction to the song, which was recorded and used on the album after "one or two takes". He has called his Moog synthesizer solo at the end of the track a highlight moment but felt that the keyboards on the rest of the album were buried in the final mix. Howe thought the track was "an indescribable mixture of Patrick's jazzy keyboards and my weird sort of flamenco electric [guitar]", yet he disliked Moraz's initial choice of chords he played during his guitar solo, causing Moraz to play it differently, which he disagreed with. Band