Close to the Edge

Artist: Yes
Label: Wea International
Category: Music

Average customer rating:

Format: Limited Edition
Media: Audio CD
Number Of Discs: 1

UPC: 766487552325
EAN: 0766487552325
ASIN: B00005LK1O

Release Date: 2001-09-25

Close to the Edge

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Tracks:

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
And You And I: I. Cord Of Life/II. Eclipse/III. The Preacher The Teacher/IV. Apocalypse
Siberian Khatru

Similar Items:

Fragile

Album Description

Part of the 'Yes Original Jacket Series'. Japanese limited edition HDCD remastered reissue of 1972 album, packaged in a miniature LP sleeve.

Album Details

Digitally remastered HDCD Japanese limited edition release in a limited LP-style cover.

Customer Reviews:

I get up! I get down! I get impressed--this album is the pinnacle of progressive rock.......2006-10-18

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.

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.

DO NOT BUY THIS JAPANESE REPLICAS.......2002-11-20

YES......
THESE REPLICAS ARE ALMOST INCREDIBLE... TOO GOOD TO BE TRUE... THE PACKAGING IS EXCELLENT, BUT.....WELL, MY FRAGILE COPY HAS A DISSAPOINTING ONE CHANNEL MINI DROPOUT IN ROUNDABOUT, ON THE VERY BEGGINING,. THIS IS UNADMISSIBLE FOR A YES FAN THAT PAYS 30 DOLLARS FOR A CD!
MY GOING FOR THE ONE DOES TOO, SO MY CLOSE TO THE EDGE REPLICAS. I HAVE CHEKED OUT AND THIS DROPOUTS ARE ALL OVER SEVERAL OF THESE MINIATURES.
LITTLE DROPOUTS, BUT FOR THIS PRICE, I CANNOT BELIEVE IT ! I PAID A LOT OF MONEY FOR THIS STUFF ! YOU BETTER GET THE OLD REMASTERS OR WAIT FOR RHINO
YES RE-RELEASES. I HAVE HEARD ROUNDABOUT ON YES' NEW BOX SET AND SOUNDS GREAT, WITHOUT THE DISSAPOINTING SOUND DROPOUTS.

Classic YES as good as it gets........2002-05-19

This 2001 HDCD version is sonically by far the best version available on CD, even if your player doesn't have a HDCD decoder. The dynamics are as good as I've ever heard. I own a copy of the Original Master Recording vinyl edition by MFSL and I must say that this one comes damn close (no puns please). All the original artwork and gate-fold sleeve are replicated in miniaturised form. Very cute.
Bear in mind: "Remastered from the original master tape" means there is going to be the odd dropout here and there. After all, the tapes are 31 years old! It would be a miracle if there weren't any flaws!
So, if you ever hear a "perfect" edition re-master, ask yourself "how was it all repaired all of a sudden?" Hmmmmmmm......

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