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.
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Close to the Edge
Reissued, Import, Remastered
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Track Listings
| 1 | Close to the Edge; I: The Solid Time of Change/Ii:Total Mass Retain/Iii: I Get Up I Get Down/Iv: - Yes |
| 2 | And You and I; I: Cord of Life/Ii: Eclipse/Iii:The Preacher the Teacher/Iv: Apocalypse - Yes |
| 3 | Siberian Khatru - Yes |
Editorial Reviews
1995 remaster of their 1972 opus. No Bonus tracks, folks.
Product details
- Is Discontinued By Manufacturer : No
- Language : English
- Product Dimensions : 0.39 x 4.92 x 5.59 inches; 3.39 Ounces
- Manufacturer : Atlantic
- Original Release Date : 1994
- Date First Available : August 16, 1994
- Label : Atlantic
- ASIN : B000002J1E
- Number of discs : 1
- Best Sellers Rank: #143,914 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #2,520 in Progressive Rock
- #4,843 in Album-Oriented Rock (AOR) (CDs & Vinyl)
- #8,696 in Vocal Pop (CDs & Vinyl)
- Customer Reviews:
Customer reviews
4.7 out of 5 stars
4.7 out of 5
2,411 global ratings
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Reviewed in the United States on August 6, 2006
Reviewed in the United States on October 18, 2006
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.
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.
Top reviews from other countries
Ricardo Ferreira de Aragão Paz
5.0 out of 5 stars
Próximo da perfeição
Reviewed in Brazil on July 7, 2020
Meu disco preferido do Yes ainda continua sendo o "Yes Album", mas é inegável que com o "Close To The Edge" o Yes, ao lado do ELP, do Genesis, do King Crimson e do Pink Floyd, adentrou ao panteão das grandes bandas inglesas de rock progressivo de todos os tempos. Rick Wakeman, outrora integrante do The Strawbs, trouxe uma maior erudição e sofisticação ao som "viajante" da banda. Quanto a reedição em vinil o ponto positivo é a gramatura (180g) e o fato de se tratar de prensagem oriunda do master original. Não escutei ainda a edição com a nova mixagem feita pelo Steven Wilson, que alguns dizem ser a melhor, mas comparando com a edição brasileira que tenho, esta é bem superior, inclusive no que se refere a parte gráfica (gatefold).
David
5.0 out of 5 stars
Flawless pressing
Reviewed in Australia on August 16, 2022
I was very keen to have the best prog rock album ever on vinyl and this 180 gram pressing did not disappoint. Almost no background noise whatsoever and shipping from the UK to Australia was lightening quick, very happy with my purchase
Jen
3.0 out of 5 stars
Disappointing
Reviewed in Australia on July 18, 2020
Didn't have the track I wanted
Amazon Customer
5.0 out of 5 stars
If you don't have this version you are missing out on a unique experience.
Reviewed in Canada on July 15, 2022
A masterpiece of prog rock. The 5.1 version is super clean. You hear every note and can pick up sounds that have not been able to get through any previous releases of this album. The subtle acoustic strings of Steve's guitar are kept strong and apart from the rest then flows back into the mix with Rick's keyboards taking place then it to mixes back in and a cycle of beautiful sounds surrounding you take you into another space and time... Just Wow. I'm very impressed with this. High recommendation.
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Client d'Amazon
2.0 out of 5 stars
Je suis perplexe
Reviewed in Canada on November 28, 2022
Il y déjà un an que je possède cette album. Depuis l'achat , je n'ai pas pu l'écouter plus de 4-5 fois. La raison est qu'il y a quelque chose qui cloche au niveau du son. Pourtant le pressage semble parfait et n'y a pratiquement aucun craquement. Premièrement cet album a été pressé beaucoup trop ''hot". Le niveau est trop élevé et j'entends de la distortion lors des forts passages (exemple: solo de guitare) . Aucun remastering ne semble avoir été fait sur cet album. C'est ultra compressé comme si on avait simplement repiqué à partir de la version numérique. Aucune équilisation n'a été faite , le son est sourd , manque de clarté, d'aigu et beaucoup trop de basses. J'ai essayé plusieurs cartouches à différent tracking force et c'est toujours pareil.
Pink Floyd - Dark Side of the Moon présente des problèmes similaires. J'ai revendu les deux...
Pink Floyd - Dark Side of the Moon présente des problèmes similaires. J'ai revendu les deux...
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