Close to the Edge

Words simply cannot describe the wonder that is `Close to the Edge' (1972). Yes--at this point consisting of vocalist Jon Anderson, drummer Bill Bruford, guitarist Steve Howe, bassist Chris Squire, and keyboardist Rick Wakeman--were trying desperately to top their breakthrough release `Fragile,' also from 1972. The result was a bastion of musical synergy that had not been topped before then and would not be topped afterward by anyone, even Yes themselves (in any permutation of their lineup, which shifted several times after this album).On this album, the band functions more as a unit than in any previous release. Gone are the individual showcase works, the indulgent solos, and the restraints inflicted upon the band by record producers. Now insanely popular and possessed of two very solid releases, Yes decided to shelve the mantle of popular expectation (something to which they never really adhered in the first place) and simply make music for music's sake. Instead of truncating their powers of musical expression into cookie-cutter formats (even considering that music written on the scale of Yes's "standard song format" would be epic-worthy in the hands of most other bands), the band took their time on this album to say everything they needed to say, whether or not the music ever made it onto the radio.It didn't, but that doesn't matter. Die-hard Yes fans, and just fans of profound music in general, fell for this album hook, line, and sinker. There is something genuine about this music that captivates; the length of the title track, for example, is not forced but necessary. The lyrics are presented more as an instrument in themselves than as the main vehicle of expression; the actual instrumentation serves as much or more to the effect of broadcasting just what the band were trying to say.I could write a novel about this album, but now I will attempt to describe, in detail, each of the tracks on the original album. Significant of the time, there were only three.1. "Close To The Edge" - Words fail me when trying to explain the appeal of this absolute masterpiece among masterpieces. I must warn prospective listeners that this track might not seem very appealing the first time you try it. Make sure you listen to it free of interruptions and distractions the first few times. By the third time, I assure you, something will click, and you will finally "get" it. Oh, I envy those who embark upon this journey on that magical time when it finally opens itself to them. Even the most complex minds will find this work fully encompassing, and it requires every last one among the brain's slew of resources to totally appreciate this music. This, I believe, is what contributes the sense of nirvana that listeners of this piece of music all report.The beginning is unassuming enough, a crecendo of sounds from nature, accompanied by a celestial, LFO-derived synthesizer pad. Then comes what might be the most intense entrance in all recorded music, an almost cacophonic wash of sound that seems not to be held together by anything, yet boasts an underlying structure that keeps it from falling apart. Several heavenly vocal breaks stab into this entrance, and then a longer, sustained vocal chord signals the transition to the next movement. A guitar figure--a motif that appears time and again throughout the work--plays triumphantly above a complicated bed of instrumentation. After this figure takes its time asserting itself, a truly irresistible rhythmic figure takes over. This serves almost as an obbligato throughout the piece. Then Jon starts singing. Oh, what singing it is! It has been compared to rap, though I think it is far too high-brow (and, let's be honest--civilized) for that comparison. Plus, there is an actual tone to the words, even if their meaning is totally incomprehensible. At least every second one isn't an expletive (can you tell I disapprove of rap?). Don't waste your time trying to figure out what they mean, and don't read the lyrics when you first listen to the music. This will only distract you; you don't need to know a single word from the song to reach the aural bliss so many have affected from this work.After this movement is explored to completion, a softer, pensive movement begins after an effective segue. This is the infamous "I get up I get down" part of the piece, the instrumentation of which makes the listener feel as though he or she is immersed in the depths of a clear, calm sea. As this section reaches its double climax, Rick blasts into action on a tremendous church organ (set to full plenum), then employs a trick he used on his first solo album, `The Six Wives Of Henry VIII': He doubles the organ bass--a little thin-sounding in the recording--with the deep growl of one of his Minimoogs. But even before the full impact of this effect is felt, several metallic blasts ensue and the piece propels itself into the next and final movement.This movement serves as a sort of recap of the others musically, though its beginning is dominated by Rick Wakeman's finest recorded solo. As a keyboardist myself, I realize just how difficult this was to play. Wakeman is without a doubt the best keyboardist in the history of the craft. The climax of this final movement is the most monumental and uplifting in all of music, and its anticlimax/falling action reflects the sounds of nature that begin the piece. Wow! Is everybody still with me? The ride's not over yet...2. "And You And I" - If "Close to the Edge" was Yes's most complicated epic masterpiece, then "And You And I" was certainly the band's most beautiful work. Written by Jon to his wife, this may well be the most esoteric and gorgeous love song ever penned. Clocking in at just over ten minutes in length, and coming in four parts, this song is breathtaking--the climax will inspire chills. Beginning with the soft sounds of Steve tuning his twelve-string guitar, the piece meanders through myriad musical marvels before ending on a quiet note. I'm a little winded after describing the title track, so you're on your own to fill in the considerable gaps in this description.3. "Siberian Kahtru" - The words are nonsense. Understand this before you go any further. This song is a straight-up rocker, in that weird brand of rock trademark to Yes. The beginning riff is irresistible, and its permutations throughout the work are never boring. The middle solo section employs some unconventional instrumentation, including a sitar and a harpsichord (played brilliantly by Wakeman). The ending is dominated by an almost jazz-scat type vocal run, then comes a fade-out of instrumentation. All in all, this is an awesome song, fully on par with the other two on this album.The bonus tracks don't really add much to the album, but contrary to the bloody murder some reviewers have been screaming, these tracks don't detract from it, either. You see, compact disc players have been equipped since their inception with a wonderful button it seems these people haven't yet discovered: "Stop."The remastering on this album is sterling. While it's true there are things I like about Joe Gastwirt's work on the 1994 remasters (Wakeman's keyboards have a more organic, analog quality that the Rhino remasters lack), there are things I don't like about the old standard as well. On the whole, Gastwirt's work sounds sort of fuzzy and indistinct. The instrumentation sort of slides in, whereas on the Rhino remasters, each instrument or vocal part enters without apology. Plus, there was a little hiccough on Gastwirt's version of "And You And I" (just before the bass drum/bass part comes in just after timecode 1:12) that was corrected on the Rhino release.All in all, this is a must-have staple of progressive rock. This album is legendary, and when you hear it to completion, you will know why. Even so, if you're new to Yes, I wouldn't start here. Go for `The Yes Album' (1971) or `Fragile' (1972), both of which are five-star albums, albeit more accessible than `Close to the Edge.' If you like what you hear, then there's no reason why you should dislike this release. In a sense, it's not a departure from the earlier two releases, but an extension. `Close to the Edge' explores just what the band would do in an ideal, limitless format, as opposed to the more radio-friendly arrangement that made the previous releases successful.Don't waste another minute. Buy this release at the next opportunity, and just say "Yes!" to what is undoubtedly the finest progressive rock album ever recorded.

Words simply cannot describe the wonder that is `Close to the Edge' (1972). Yes--at this point consisting of vocalist Jon Anderson, drummer Bill Bruford, guitarist Steve Howe, bassist Chris Squire, and keyboardist Rick Wakeman--were trying desperately to top their breakthrough release `Fragile,' also from 1972. The result was a bastion of musical synergy that had not been topped before then and would not be topped afterward by anyone, even Yes themselves (in any permutation of their lineup, which shifted several times after this album).On this album, the band functions more as a unit than in any previous release. Gone are the individual showcase works, the indulgent solos, and the restraints inflicted upon the band by record producers. Now insanely popular and possessed of two very solid releases, Yes decided to shelve the mantle of popular expectation (something to which they never really adhered in the first place) and simply make music for music's sake. Instead of truncating their powers of musical expression into cookie-cutter formats (even considering that music written on the scale of Yes's "standard song format" would be epic-worthy in the hands of most other bands), the band took their time on this album to say everything they needed to say, whether or not the music ever made it onto the radio.It didn't, but that doesn't matter. Die-hard Yes fans, and just fans of profound music in general, fell for this album hook, line, and sinker. There is something genuine about this music that captivates; the length of the title track, for example, is not forced but necessary. The lyrics are presented more as an instrument in themselves than as the main vehicle of expression; the actual instrumentation serves as much or more to the effect of broadcasting just what the band were trying to say.I could write a novel about this album, but now I will attempt to describe, in detail, each of the tracks on the original album. Significant of the time, there were only three.1. "Close To The Edge" - Words fail me when trying to explain the appeal of this absolute masterpiece among masterpieces. I must warn prospective listeners that this track might not seem very appealing the first time you try it. Make sure you listen to it free of interruptions and distractions the first few times. By the third time, I assure you, something will click, and you will finally "get" it. Oh, I envy those who embark upon this journey on that magical time when it finally opens itself to them. Even the most complex minds will find this work fully encompassing, and it requires every last one among the brain's slew of resources to totally appreciate this music. This, I believe, is what contributes the sense of nirvana that listeners of this piece of music all report.The beginning is unassuming enough, a crecendo of sounds from nature, accompanied by a celestial, LFO-derived synthesizer pad. Then comes what might be the most intense entrance in all recorded music, an almost cacophonic wash of sound that seems not to be held together by anything, yet boasts an underlying structure that keeps it from falling apart. Several heavenly vocal breaks stab into this entrance, and then a longer, sustained vocal chord signals the transition to the next movement. A guitar figure--a motif that appears time and again throughout the work--plays triumphantly above a complicated bed of instrumentation. After this figure takes its time asserting itself, a truly irresistible rhythmic figure takes over. This serves almost as an obbligato throughout the piece. Then Jon starts singing. Oh, what singing it is! It has been compared to rap, though I think it is far too high-brow (and, let's be honest--civilized) for that comparison. Plus, there is an actual tone to the words, even if their meaning is totally incomprehensible. At least every second one isn't an expletive (can you tell I disapprove of rap?). Don't waste your time trying to figure out what they mean, and don't read the lyrics when you first listen to the music. This will only distract you; you don't need to know a single word from the song to reach the aural bliss so many have affected from this work.After this movement is explored to completion, a softer, pensive movement begins after an effective segue. This is the infamous "I get up I get down" part of the piece, the instrumentation of which makes the listener feel as though he or she is immersed in the depths of a clear, calm sea. As this section reaches its double climax, Rick blasts into action on a tremendous church organ (set to full plenum), then employs a trick he used on his first solo album, `The Six Wives Of Henry VIII': He doubles the organ bass--a little thin-sounding in the recording--with the deep growl of one of his Minimoogs. But even before the full impact of this effect is felt, several metallic blasts ensue and the piece propels itself into the next and final movement.This movement serves as a sort of recap of the others musically, though its beginning is dominated by Rick Wakeman's finest recorded solo. As a keyboardist myself, I realize just how difficult this was to play. Wakeman is without a doubt the best keyboardist in the history of the craft. The climax of this final movement is the most monumental and uplifting in all of music, and its anticlimax/falling action reflects the sounds of nature that begin the piece. Wow! Is everybody still with me? The ride's not over yet...2. "And You And I" - If "Close to the Edge" was Yes's most complicated epic masterpiece, then "And You And I" was certainly the band's most beautiful work. Written by Jon to his wife, this may well be the most esoteric and gorgeous love song ever penned. Clocking in at just over ten minutes in length, and coming in four parts, this song is breathtaking--the climax will inspire chills. Beginning with the soft sounds of Steve tuning his twelve-string guitar, the piece meanders through myriad musical marvels before ending on a quiet note. I'm a little winded after describing the title track, so you're on your own to fill in the considerable gaps in this description.3. "Siberian Kahtru" - The words are nonsense. Understand this before you go any further. This song is a straight-up rocker, in that weird brand of rock trademark to Yes. The beginning riff is irresistible, and its permutations throughout the work are never boring. The middle solo section employs some unconventional instrumentation, including a sitar and a harpsichord (played brilliantly by Wakeman). The ending is dominated by an almost jazz-scat type vocal run, then comes a fade-out of instrumentation. All in all, this is an awesome song, fully on par with the other two on this album.I feel I must point out to those who are viewing this particular page with the intent of purchasing the item listed that, in 2003, Rhino Records re-remastered most of the Yes catalogue, including 'Close to the Edge.' The Rhino remasters are generally deemed superior in sound quality to the Atlantic set from 1994; additionally, the Rhinos sport bonus tracks, and all albums (except for 1980's 'Drama') with Roger Dean artwork come in digipack/slip cover enclosure.All in all, this is a must-have staple of progressive rock. This album is legendary, and when you hear it to completion, you will know why. Even so, if you're new to Yes, I wouldn't start here. Go for `The Yes Album' (1971) or `Fragile' (1972), both of which are five-star albums, albeit more accessible than `Close to the Edge.' If you like what you hear, then there's no reason why you should dislike this release. In a sense, it's not a departure from the earlier two releases, but an extension. `Close to the Edge' explores just what the band would do in an ideal, limitless format, as opposed to the more radio-friendly arrangement that made the previous releases successful.Don't waste another minute. Buy this release at the next opportunity, and just say "Yes!" to what is undoubtedly the finest progressive rock album ever recorded.

It's albums like Close To The Edge that make you consider why Prog has such a bad rep. After a few listens, or even a few hundred, you'll still be asking yourself how they made 40 minutes of coherent music comprising so many apparently conflicting sections and wondering: has an album ever been named so appropriately? Yet, like a Picasso jigsaw - yes, a Picasso jigsaw, not a jigsaw of Picasso - it all fits together perfectly, if a little abstractly.And You And I drops from strummy folk to a Beatlesy bridge, a reggae beat to an apocalyptic electronic climax. Close To The Edge, the track itself, is not so much a musical melange of surging psychedelia, funk, Byrds-influenced harmonies and a church organ, as the sound of falling through the universe. At this point it's worth remembering that this album was actually a massive hit pretty well everywhere, a sobering thought in these musically conservative times. Siberian Khatru is the most 'normal' rock track here, but every harpsichord, Eastern stringed instrument and vocal harmony elevates it to greater and greater heights, until the cascading voices collide on a 'river flowing right on over my head' and you are left in no doubt about exactly how that feels.The album was released during that sweet spot just before production started sounding messy and ambition either ran out or ran riot, but whatever you think about Prog, this album will always sound uniquely like that point between the end of the known and the beginning of the unknown: Close To The Edge.

This is a staggering work of genius - and I don't even particularly like Yes! The swirling melodies, Anderson's strange voice and equally "out there" lyrics are underpinned by such solid and inspired musicianship that it makes for a magnificent whole. Notable for Rick Wakeman's first full outing with the band and what an addition he is. He may have played the part of the cantakerous Jester of Rock for all these years but he is a mighty fine keyboard player. Chuck in Steve Howe's terrific guitar playing , the jazz sensibilities of Bill Bruford and Chris Squire's bass runs and you have an essential rock album where in this instance individual ego has not been allowed to sully the overall sound. And it even comes packaged in one of Roger Dean's overrated covers and often with a bonus track of Yes playing Simon and Garfunkel's America - which is intriguing.

Yes' astounding 1972 album is the peak of the band's most creative period, the defining creation of the quintessential Anderson-Squire-Bruford-Howe-Wakeman line-up. The original album contained only the 20-minute title track plus two other pieces of around 10-minutes each: the beautiful `And You and I' and the fast-paced, foot-tapping `Siberian Khatru.'The title track is a fine example of jazz-rock fusion, symphonic in structure (i.e. 4 `movements' finally returning to the main theme) with a collection of fine melodies, tight and often funky playing through time-switches & key-changes, compositionally outstanding & perfect in execution. It's a masterpiece, the apotheosis of the `prog' genre.The best way to characterize Jon Anderson's enigmatic lyrics, such an essential part of that distinctive `Yes sound', is as a kind of expressionist art painting bright colours on a big canvas, describing shapes you can never quite define. The lyrics of most pop/rock/jazz music are buy contrast more literal-realist, less imaginative.A real `feel-good' factor pervades the music of CTTE. It's upbeat, and passages often contain that tinge of humour (musical, not lyrical) sometimes found in the work of accomplished artists entering a more mature period of greater confidence in what they can do. There is no weak link in this chain: all five musicians weave a kind of magic together, each essential to the whole.The 2003 re-master is exquisite, the original 16-track analogue recordings sharp with an unexpectedly `warm' sound. You get plenty of extra material, all of it good: the single version of `America' (much shorter than the full-on 10-minute version); a single of the `Total Mass Retain' movement from CTTE; a nice alternate `And You and I' & a studio-runthru' of `Siberia', less polished than the album version. Roger Dean's tasteful, simple green-dominant cover-art is nicely reproduced too; the perfect artwork for the music.If you have heard any of Yes' music - particularly from the band's very productive first 10 years - and never heard CTTE, then give it a listen. With `Dark Side of the Moon' it's probably the finest example of the best of the `prog' genre and like the best of Pink Floyd, it hasn't aged a day in 40 years.

I'm new to Yes somehow. Probably because this album was released 13 years before I was born, I've spent much of the last 10 years listening to a lot of metal, and only in the past few years have I really begun to get into classic rock, prog and a wide variety of electronica.I've had Fragile for a while but only recently got into it and when I couldn't bring myself to take it out of my car stereo I thought I should look into other Yes works. Close to the Edge was the first I bought and my God, I'm so pleased I did.There hasn't been a band in my life for some time who have given me the excitement I felt as a teenager when I was discovering all the bands who got me into playing guitar and made me decide to study music. But Yes are that band. I can't stop listening to them and this album has really inspired me in a way that no other music has for some time (other than music I already knew about).The whole album is flawless. The quality of the playing, composition, and sound is on a level most bands can only dream about and is some of the most inspirational music I have ever heard. Despite being only 3 tracks, with each being much longer than standard song length, the album is incredibly varied and never boring.The best comparison I could give to anyone who has not heard the album would be with Pink Floyd's recording of Wish You Were Here (not for the sound of the music, but for the scale of the achievement). Both bands had just made a very successful album, and decided to follow it up by making something completely different, an entirely different concept of what an album could be like.Where Fragile and Dark Side were full of shorter tracks and more commercial hooks, Close to the Edge and Wish You Were Here really explored what the musicians were made of both individually and collectively whilst pushing the band's trademark sound to the limit and beyond.The 3 songs here are all equally incredible and each deserve praise so I won't go into the best parts of each, but it is the overwhelming feeling of satisfaction you get at the end of it that makes it feel so special.If you're into bands like Dream Theater, Mastodon (Crack the Skye), Porcupine Tree, and Mars Volta, then listen to this. This is where it all began and decent as those bands are, they can only attempt to imitate this truly great album.

This was always a wonderful album whatever it's previous guise - Vinyl, CD, or CD (Rhino remaster), but with this latest effort from Steve Wilson, it's even better and the 5.1 mix is awesome.Many reviewers will articulate the merits of both the album and re-mix far better than I. For me I just wanted to say that this is not just for completists, but is a must buy for any fan of the album - this is without doubt (surely) the definitive version.The re-mix is sympathetic and improves the original rather than detracting from it and I'm already looking forward to the next of Yes' back catalogue given the treatment by the 5.1 remix guru.5 stars for the music5 stars for the re-mix and 5.1 Blu-Ray version