converted his garage into a recording studio. This marked the first time Yes had made an album outside of London, and the location saved the group money as they no longer needed to pay for time in a professional studio which allowed them to concentrate their efforts on the music. It is their last album of the 1970s to feature Eddy Offord as co-producer before he left to work with other bands. Having worked with Yes as their producer, engineer, and live sound mixer since 1970, Offord later stated that his time with the group had become "a bit stale" by the time of Relayer. As Squire's studio did not yet have the right equipment to record, Offord set up a 24-track recording machine and mixing desk using his own mobile equipment, and had Gennaro Rippo as tape operator. The album's production duties were shared by Offord and the group. After the album was recorded, it was mixed at Advision Studios in London. Having made Tales from Topographic Oceans, a double concept album, Yes scaled back their output and presented Relayer as a single album with a structure similar to Close to the Edge, with one track occupying side one and two tracks on side two. According to Anderson, the band wrote two additional tracks during the album's sessions but did not have enough time to record them. He described one of them as "absolutely crazy and intricate". For the majority of his parts recorded for the album, Moraz did not write the music on paper and instead relied on his memory except for some particularly precise sections. Recording sessions would last for as long as eight or nine hours. Howe uses a 1955 Fender Telecaster on Relayer, marking a departure from his Gibson ES-175 that he had used since The Yes Album (1971). He also uses a pedal steel guitar. Squire uses a Fender Jazz Bass on "To Be Over". Moraz uses a number of keyboards that are not found on other Yes albums. Songs Side one "The Gates of Delirium" is a 22-minute track that Anderson described as "a war song, a battle scene, but it's not to explain war or denounce it ... There's a prelude, a charge, a victory tune, and peace at the end, with hope for the future." Anderson had originally planned to have the entire album based on War and Peace by Leo