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Produced by Jeffrey Crecelius, Wayne Hall, Preston Frazier, Bill Govier and VR Hoisington
This week is the second part of our look at what Patrick Moraz did after leaving Yes. So we’ve been listening to his second solo album, Out in the Sum which is a slightly surprising record.
Listen and let us know what you think!
- Is this Story Of I II?
- Are all the songs Brazilian-influenced again?
- What about the vocals this time?
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Show notes and links:
- Jeffrey Crecelius
- Preston Frazier
- Bill Govier and
- Wayne Hall
|Aaron Steelman||Dave Owen|
|Mark James Lang||Paul Tomei|
|Joost Maglev||David Heyden|
|Martin Kjellberg||Paul Wilson|
|Michael O’Connor||Peter Hearnden|
|Brian Sullivan||David Pannell|
|Miguel Falcão||Lobate Scarp|
|Chris Bandini||David Watkinson|
|Neal Kaforey||Rachel Hadaway|
|Paul Hailes||Mark ‘Zarkol’ Baggs|
|Doug Curran||Robert Nasir|
|Fergus Cubbage||Scott Colombo|
|Fred Barringer||Scott Smith|
|Geoff Bailie||Simon Barrow|
|Geoffrey Mason||Stephen Lambe|
|Guy R DeRome||Steve Dill|
|Henrik Antonsson||Steve Perry|
|Hogne Bø Pettersen||Steve Rode|
|Jamie McQuinn||Steven Roehr|
|Ken Fuller||Terence Sadler|
|Jeremy North||Tim Stannard|
|John Cowan||Tony Handley|
|John Holden||Joseph Cottrell|
|John Parry||Keith Hoisington|
|John Thomson||William Hayes|
|Barry Gorsky||Michael Handerhan|
Robert and David
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The music I use is the last movement of Stravinsky’s Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert – I put it together from the following two creative commons sources: thanvannispen and archive.org
8 replies on “What did they do next part 5b – Patrick Moraz – 396”
As I have mentioned often, Relayer remains my favorite Yes album of all time. It was during the time of Relayer when I discovered Yes. So the disappointment at departure of Moraz from the band was only topped when Anderson left a few years later. I loved Moraz’s FIRST solo album, “i”. So I was excited by the release of Out in the Sun.
I appreciate Kevin’s criticism about the less “proggy” nature of the music, but I still loved it. His keyboard playing was delightful and all the songs were at least fun, when they weren’t amazing. Moraz gets little credit for his early forays into what would later be referred to as “World Music”. Peter Gabriel and Paul Simon got all the credit.
Some of this album is clearly extra material that didn’t make it on to “i”. He credits the Brazillian percussion group, but says to look at “i” for the list of them… I presume because those percussion tracks were recorded at the time of “i”. Other material on this album is clearly reworked from his early submissions to what would have become Going for the One if Moraz had stayed. Most notably, his intro to “Time for Change” was the original intro to “Awaken”. Here’s the link: https://www.youtube.com/watch?v=N5VbXxJ05ZU
I waited eagerly for the next solo albums from Moraz. I bought several of them and enjoyed them, but none have stood the test of time like “i” and Out in the Sun.
Great discussion, as always.
Kevin, you know you’re taking serious risks stating that Brazil speaks Spanish, right? 😉
“Batucada” is used to describe a sort of accompaniment of traditional Brazilian dances using percussion (past participle derived from “Batuque” – an informal general word for “drum”)
Indeed “Rana” is “frog” in Spanish – it also could be that Patrick chose the spanish word because it sounded better or even simpler to write without the special character in “rã” – from the language spoken in Brazil (hint, hint)
Funnily enough, there is a “rana” word in that variant language spoken in Brazil – it means Sea Theif (possibly some kind of pirate?) – but after l heard the song, it actually reminds me more of the “frog” possibility!
Cabala (as correctly written in their language) can have the meaning like you have said – a mystical interpretation of texts from the Bible, but also can mean “conspiracy”.
Cachaça (the story of I) – pronounced ka-SHA-ssa – is a brazilian spirit made of the sugar cane, now best known in the “caipirinha” – a mix of cachaça, limes, sugar and ice!
Perfect for a toast in the forthcoming episode 400!
Oops. That’s a bit of a school boy error! Very sorry everyone- the official language of Brazil is Portuguese. Thanks so much for all this information Miguel. Fascinating stuff!
Patrick told me at the time that his use of cabala was for conspiracy, and referenced what happened with his ouster from Yes in the fall of ’76! Something to think about. If he ever finishes his autobiography he says it will give the full story.
I’m a huge fan of all of Patrick’s work, from Mainhorse, Refugee, Yes, solo, Moody Blues, Moraz-Bruford, MAP, etc. I’ve always loved this album, although like most people, I gravitate toward “i” as his greatest solo work. I first met Patrick on the Yes ’76 tour & we’ve stayed in touch since. He’s proud of this album, and it’s filled with some great playing by him & the musicians. I enjoy it all, regardless of the varied styles & sounds. Variety is the spice of life!
This goes back to part ‘A’, I guess… You’re really not kidding about there not being much info on this album, but I can add a bit.
The cover photo was taken at Lake Mead National Recreation Area near Las Vegas, NV, at a place called Hemenway Harbor – it’s not much of a harbor, just a boat launching ramp. Patrick confirmed that much when I spoke with him on the 2017 Cruise To The Edge. Although we didn’t get into specifics, I imagine the photo was taken the year before, in August of 1976, when YES played Vegas on the Relayer/Solos tour – my first YES concert.
The reason this album originally caught my attention, though, was the cover art: on the other side of the hills behind Patrick’s right shoulder is Boulder City, NV, which is where I grew up. I recognized the landscape immediately.
I picked up Out In The Sun a couple of weeks ago at a local used hi-fi and hiking equipment store ( this is Seattle after all). 2 dollars got me this album and a copy of Rush’s 1984 tour program! Spectacular deal!
The album is missing the lyric sheet but is in good shape otherwise. A very enjoyable listen. It has prompted me to relisten to my copy of the Moraz – Bruford album, Flags. They were never in Yes at the same time but the collaboration shows teases us about how Yes-music may have been.
Keep up the great work!
I love this record, along with it’s predecessor and successor. All three are great reminders of what extraordinary variety of music the industry invested in as a matter of course prior to the advent of MTV. People go on about how corrupt, opaque and exploitative it was (and of course it was all those things at times) but boy did the major labels chase audiences with some unlikely sounding releases. This is one of those for sure.
The more pop oriented parts are not among his finest moments but there was probably a big difference in the amount of creative leeway you could get from a&r departments as Patrick-Moraz-Member-Of-One-Of-The-Biggest-Bands-In-Rock-History and being an ex member of the same combo. Sticking in some cloying chunks of sub-par yacht rock was presumably the price he paid for getting the rest released.
Younger readers might be surprised as to how relatively exotic this music sounded to rock ears even as late as 1977. So the album stands as a nice reminder of how much of what we now think of as (ugh) World Music reached us through the portals of jazz and jazz fusion – thinking of the likes of Alice Coltrane, Santana, Malo, Shakti, Fania All Stars, Stomu Yamashta, Osibisa, Agitation Free and the like. I don’t know how it was in the US and Canada but Sterns didn’t open its store in London for another five years or so. HMV had an “International” section but offered no real indication / direction as to what to buy. The likes of Fela Kuti and Sunny Ade were still some years from a major label push and Peter Gabriel’s Real World was more than another decade away.
Anyway, bravo Mr Moraz for opening some ears. We were a simple people!
On a related topic anyone really enjoying Out In The Sun could do worse than pick up the first Automatic Man album from around the same period featuring Pat Thrall and Santana’s Michael Shrieve.