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OCTOBER 15, 1997
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Source: Publiczny Dostep do Internetu

http://www.pdi.net/~eristic/yes/tr_56.html

Yes: Close to the Edge: (released 1972)

By Christopher Currie

Track: Rating:
1. Close To The Edge
    (i) The Solid Time Of Change
    (ii) Total Mass Retain
    (iii) I Get Up I Get Down
    (iv) Seasons Of Man *****
2. And You And I
    (i) Cord Of Life
    (ii) Eclipse
    (iii) The Preacher The Teacher
    (iv) The Apocalypse *****
3. Siberian Khatru*****
Personnel:
* Jon Anderson: vocals
* Bill Bruford: drums
* Steve Howe: guitars
* Chris Squire: bass
* Rick Wakeman: keyboards
Credits:
* "Close To The Edge" written by Anderson/Howe, although "Total Mass Retain" has
   sometimes been credited to Anderson/Squire.
* "And You And I" written by Anderson, with "themes" by Bruford, Howe and Squire
   (note that Howe's name is not mentioned regarding "Eclipse").
* "Siberian Khatru" written by Anderson/Howe/Wakeman.
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Comments:

Most individuals involved in Yes fandom (both inside and outside of the band) would agree that Close To The Edge was a landmark album. It consistently wins the "favourite album" category in fan polls, and has been cited by Bill Bruford and Rick Wakeman as the most successful album that Yes ever came up with. Moreover, the album has been consistently included in Yes's play lists since its release, even throughout most of the Yeswest period. If any further proof of its significance is needed, one need only point to the fact that the SLO "comeback" shows included performances of all three songs from the album, in their entirety. Clearly, this is a work at the heart of Yes's recorded history.

If CTTE can be said to "suffer" in some circles of the devout, it is only in the sense that many "diehard" fans consider Tales From Topographic Oceans and Relayer to be even more adventurous works. Some casual-though-informed fans, moreover, tend to consider The Yes Album and Fragile as more listenable works. These criticisms are generally only of a relative nature, however, and tend to involve only incidental criticism of Close To The Edge itself.

Strangely enough, Rolling Stone magazine generally lists Close To The Edge as the album through which Yes lost touch with their previous basis. While the criticism that "mainstream critics don't respect prog" is no longer as valid as it was ten years ago (Dave Marsh aside, of course), the " * * 1/2" rating for this album nevertheless stands as a rather glaring error of genre-condemnation on RS's part. Perhaps the next revision will correct this matter. Or perhaps the world will have to wait until Marsh's grip on the mainstream market diminishes. In either case, no fan of progressive music need be held back by this particular source.

In the spectrum of Yes's history, Close To The Edge is clearly a transitional work, from the more concise progressive rock of the early 1970s to the epic works of 1973-74 (if you think this is mere hyperbole, try to imagine Tales following Fragile in linear succession). It also indicated the group's rejection of the singles market in favour of more extended tracks (although the second half of "And You And I" was a minor hit when released as a single). By focusing on longer song structures, the band allowed musical virtuousity to exist as an integral part of the performance to an even greater extent than previously (some might argue that this was inevitable with both Howe and Wakeman in the band at the time).

Close To The Edge may also represent the high point of Anderson's recorded output. His lyrics, though occasionally incomprehensible, are generally a mixture of internally-related imagery and metaphor, with heavy emphasis on creation and salvation metaphors. What was often criticized as incoherent babbling (a description which may be applicable to Anderson's recent solo compositions) actually appears to be a deliberate exercise in abstraction, removing the limitations of concrete imagery from the lyrical process. Although Tales comes close, CTTE probably represents the peak of Anderson's success as such. His voice, of course, is in top form throughout the work.

Of the other members, Howe is clearly the most dominant figure throughout the work. Aside from claiming a strong share of songwriting credits, he also contributes numerous solos which showcase his ability to be individualistic within a group process. Wakeman is also fully integrated with the music of the band at this juncture, alternately providing impressive solos and lower-key flavourings. Squire likewise creates several notable parts, although his influence as a songwriter within the group was clearly waning at this stage.

Bruford's contribution to the album may be the oddest of the five members. Having told the group of his decision to leave before the album was even recorded, some of Bruford's parts seem to represent a retreat from his attention-grabbing performances on The Yes Album and Fragile (if also revealing greater maturity). Only on "Siberian Khatru" and parts of "Close To The Edge" does his playing look forward to future times within King Crimson. Although his distinctive style is still in evidence throughout the entire album, "And You And I" and other parts of "Close To The Edge" suggest a reduction of his creative role.

Of the three songs on the album, the title track has generally revealed itself as the most popular among devouted fans. "Close To The Edge", taking up the entirety of the album's first side, is correctly regarded by many fans as one of the strongest creative statements of the band's career. The album begins with the sound of sampled nature recordings, taken from Jon's collection (btw, does anyone know what the source of this sample is?), which quickly transforms into a positively amazing chaotic introductory section. Using unusual melodic developments, Howe produces a guitar lead which easily ranks among the best of his career; when Wakeman's keyboards enter, they provide even more chaotic texturing to the track. With all four instrumentalists contributing strong performances, this is easily a high point of the song.

The `song' section of `The Solid Time Of Change' isn't quite as good, but the distinction is marginal. With Howe shifting to the rhythm part and Bruford adopting a lower profile, Anderson gains the spotlight and presents the first instance of an eclectic vocal/lyrical line which recurs throughout the track. The unusual and varying arrangement of verses and choruses must be noted as well.

`Total Mass Retain' is perhaps most clearly remembered for the extremely low tone which Squire managed to create on his bass; otherwise, this is essentially just an extension of `The Solid Time Of Change', and is probably the only section of the piece incapable of standing on its own.

`I Get Up I Get Down' is easily the most unusual section of the track, with its opening minutes focusing primarily on the creation of a musical texture (via a mixture of guitar/bass/keyboards) against which Anderson's lead vocals are allowed to appear in stark contrast to the musical bed around them. Wakeman eventually emerges as the dominant musician of the track, with highlights of his performance including a church organ solo and Hammond solo immediately after it. From a purely sonic standpoint, this may be the most impressive standpoint of the song (which may also explain why it doesn't usually work live).

"Seasons Of Man" may be the most successful section of the song. The segment begins with a partial reprise of the opening instrumental section, including some amazing performances from Bruford and Squire before the guitar emerges as the dominant instrument. Wakeman incorporates another solo into this section (which is less sonically impressive than its predecessor, but is otherwise better). Following this, the `song' section of the piece takes over again, with Anderson finally leading the course of the song to its fruition. A fairly recent interview with Rick Wakeman has revealed that the inclusion of the "heavy echo-effect section" at the end of the piece was actually accidental; while it may represent a slight discontinuity with the previous section, however, its presence is actually extremely effective in driving home the conclusion of the song. A reprise of Anderson's nature tape adds this very impressive work.

The second half of the album begins with "And You And I", by default the most `commercial' song on the album (and the one which would be dropped to 4 1/2 stars if one of them had to be, in spite of its strong merits). This track is probably Anderson's greatest performance on the album, with his vocal purity and abstract lyrics creating the dominant structure of the track.

`Cord Of Life' begins with an acoustic guitar introduction, also featuring a bass/bass drum combination in a percussive role and seemingly overlain keyboard parts. The `song' section of this work is one of Yes's better "ballad" moments, thankfully being free of the stigma which has become associated with the term in recent times. It must be noted as well that the bass is given a higher role to play in the "cords and crosses" section of the piece.

`Eclipse' is primarily notable for another Wakeman solo, and for the fact that Howe too takes a more "lead" role in the early section of the segment. Anderson's soaring vocals are notable as well, but this track -- like `Total Mass Retain' -- isn't really capable of standing on its own, and seems to be primarily a coda of `Cord Of Life'.

`The Preacher The Teacher' is a separate `song' recording, featuring some of Anderson's better lyrics as well as a lyrical prog-folk line which emerges as the most immediately memorable part of the track. This section of the track also features Bruford's most distinctive passage within the song. The vocal harmonies at the end, as well, are most incredible.

The strangely-titled "Apocalypse" is a brief reprise of the original movement, consisting of Anderson's vocals accompanied only by Howe and Wakeman. The fadeout at the very end of this track deserves some message of credit for sonic uniqueness as well.

The album concludes with "Siberian Khatru", the only track on the album not to be subdivided into smaller sections. This might be the best all-around track on the entire album, featuring strong and innovative performances by all members, as well as the strongest use of vocal harmony on the album. The track begins with a lightning-hot guitar riff, possibly the most distinctive of Howe's career; following this, Howe develops the guitar line using ascensions in tone in addition to those of the specific notes. Bruford is allowed to be Bruford once more, and the performance which he contributes to this track is easily similar to those which he would later provide in King Crimson live performances. Also of some note is Wakeman's role -- rather than attempting to overwhelm the listener with effects, RW's contribution to this track is generally of a more subtle variety. Incorporating lyrics which point to the origins of Christianity and the Reformation, the song also includes a diverse array of musical spotlights: Howe's sitar solo, the harpsichord/bass duet, and the subsequent lead guitar spotlight, follow in rapid succession, with each section adding further colour to the song. The vocal harmonies on the "turn round, glider" section are nothing less than amazing, and the extended ending which follows may very well be the best instrumental passage of Yes's career (incorporating another solo from Howe).

Bottom line: anyone interested in Yes's career should own this album. It might or might not be the absolute peak of their recorded output, but one way or the other, it comes extremely close.


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