------------------------------------------------------- 1972 ------------------------------------------------------- Source: Melody Maker (from the Legendary Roxi Collection) Close To The Edge By Chris Welch "Close To The Edge," "Fragile," ... Yes albums always seem to have prophetic titles. Now Bill has gone, just as Tony left after "The Yes Album." But the music goes on, and enlarges, gains, changes. Jon Anderson and Chris Squire remain constant, supported by the new veterans, Steve Howe and Rick Wakeman, and now Alan White. The tremendous amount of work, concentration and attention to detail that goes into a Yes album can be quite a strain even on the most facile and gifted musicians. On this new work, "Close To The Edge," with engineer Eddie Offard, they have produced one of the most advanced and imaginative albums yet conceived by a British group. There is almost a cinematic quality in the breadth and scale of the main title, which takes up the whole of side one. And instead of becoming merely indulgent, there is almost a brevity to the piece, which makes one wish it lasted a further side. Much happens in the various sections that grips the attention, from the opening murmurs group through the whole gamut of instrumentation. After this, they could have aimed at something simpler. But on side two, arrangements are equally complex, and the studio ideas just as sophisticated. One of the few times the band does take off as a unit come on "Siberian Khatru," the last track, where Rick and Steve play a driving unison theme. Jon is one of the few singer-songwriters who is not just content to procure a sympathetic backing to his songs, but works with the group in producing a musical entity. His voice is another instrument in the band, and the lyrics say as much as sound. "Close To The Edge" opens with a movement titled "The Solid Time Of Change," with Steve double tracking two guitar ideas at furious tempo. Note some remarkable drumming from Bill here, in which he changes times and tempos with fluent ease, and still ensures there is a positive, fixed pulse. The main melody from the piece is extremely attractive, which Jon sings in typical unassuming style, fraught with that edge of uncertainty that gives it such attractive fragility. Chris Squire punches out with Bill some massive bass accents that must have severely vibrated the studio floor on the session. Chris is now one of the most important bass guitarists playing today, adding another melody line, without losing sight of the basic functions of the instrument. The movement segues into "Total Mass Retain" and then "I Get Up, I Get Down." There is some marvellous organ playing frrom Rick towards the end of this, recorded in church. Rick, towards the end of chords, takes the piece into another dimension, then the band returns for "Season Of Man," which erupts with startling abruptness. Rick returns to electric organ for a few choruses of his intense and furiously fast keyboard improvisation, then Jon and Chris sing out the final statements. Steve Howe plays some beautiful acoustic guitar in the introduction to "And You And I," and Rick's Moog whoops in with some wobbling whistles before Jon sings. The various sections of this piece are called "Cord Of Life," "Eclipse," and "The Preacher: The Teacher." Rick uses Mellotron which gives him the ability to add the sweep of an orchstra, and this is another piece rich in tone colours. Each theme links logically, and the heavy use of over-dubbing manages to avoid giving too artificial a flavour. Particularly interesting is a slowed down passage, with swooping figures on the piano and guitars, Bill emphasising each beat with that familiar gutting snare drum sound. Steve takes "Siberian Khatru" off at a clipped, brisk pace, and here is a definite case for a few less tracks on the final mix. But it's another thought provoking piece that inclues a reprise of an early vocal phrase, merging and blending in the final bars in a way that is quite brilliant. The final resolve is almost Stravinsky influenced in its machine like violence. Where they can go from here is a moot point. Methinks they have done it all as far as studio pefection is concerned and the next "live" albums will more accurately reflect the tremendous spirit on stage. Brilliantly and beautifully conceived though it is, "Close To The Edge" is still not quite close enough to Yes. Close Window YesInThePress.com For site comments, inquiries, corrections, or additions, contact yitp@yesservices.com