Classic Rock Album of the Day- Yes - Close to the Edge- (1972)- *****
Half of the fun of doing these reviews is choosing an LP that is a joy to hear, like seeing a masterpiece. A masterpiece in essence of an audio painting that is 10X greater than the sum of its pieces. Yes is that kind of band. Their ability to extract such a complex prog sound with minimal effort is amazing. This band gelled so perfectly that it seemed they were in each others musical astral plane. They played as a collective, much like the Borg in Star Trek lore. And what makes us all love this stuff so well? Besides superior songwriting and ultra-top notch viruosity, this band has this genre bending ability that so delicately parses, and is presented in such a mesmerizing manner. It so easy to get lost in their work, and forget the majestic mastery.
Which, brings me up to explain why I didn't really care for this when it first came out. And the reason was musical maturity. When I was 15, I was jamming to Alice Cooper, Black Sabbath, and other bands in the era that had a lot more heavy sound and heavy hook derivative. I really didn't really really start get interested into Yes, until I starting cutting my Prog teeth with Rush in about 1976. Like a cold slap... I finally got it, and starting understanding and appreciating the value and worth of Progressive acts.
Close to the Edge is (was) kind of an artistic shift for the band. Everything before Close to the Edge had at least some element in the LP that had some radio appeal. And wildly, there were no '45's issued for this LP. 3 songs, and 37 minutes was partly why, but I think the band wanted CTTE to be that way. Still, this was absolutely unheard of in 1972. An album without a supporting single broke every rule in the music business at the time. But Yes was that great and popular at the time, and their record company knew it. Even without a supporting '45, the album still reached No. 3 on the charts.
I would be amiss, that there is a sad aspect here too. This would be the last LP with Bill Bruford as Drummer. Though he did a half stint on "Union" about 20 years later. Bruford is my favorite drummer during during Yes' career. It's hard too put a finger on why, but I think he is synonymous with the great classic sound of Yes' best period. Talent wise, I don't see that much of a difference technically between he and White. Just my personal preference maybe.
Since there are only three songs , with the first two, with four movements, I'll just up front say as far as my choices, i'd start with "You and I", as first, "Close to the Edge"- Second, and "Siberian Khatru"- 3rd. But song greatness in an order on this LP is pretty irrelevant. There are no weaknesses on this LP. As far as a reviews, I'd prefer you treat it as me being your tour guide instead of a critic. Or. just enjoy it without my input.
Fun Fact: Apparently this album was so weighed down by it's maestro like complex mastery, that Bill Bruford called making this album "Tortuous and like climbing mt. Everest. Disappointing that Bruford did not have the stamina or fortitude to stick with the Big Boys.
Side 1-
-------------
Close to the Edge. Song is broken up in 4 movements that I will hopefully try to discern. Sometimes the transitons are a little hard to read, but I will do my best.
*. The Solid Time of Change- Opening movement has highlights some great Squire bass work, as he Howe do some crazy chaotic inter-runs that are off the scale in complexity and difficulty. Key and time changes are not only prevalent, but cressendo/decressendo work is in a class of it's own. Anderson's voice as an example is stronger too.
*- Total Mass Retain- Anderson dominates movement with ease. Accompanment fantastically augments until the instrumental solo. Final part has that etheral like sound that seems almost as precurssor to some of the "Going For the One" work that will show up in about 5 years.
*- I Get Up, I Get Down- Very Anderson melodic work that delves into some spine chilling Wakeman church organ. I have made it no secret that my one most loved instrumental sound is a church organ, blasting chrords at a 100 db. Chills indeed.
*- Season of Man- In a crazy twist, the band moves to an almost Tarkus like approach to the conclusion. This harkens to a lot of Yes' roots with a strong Jazz like feel. You get it all here.
Side 2-
------------
And You and I- Another 4 movement piece that is a song play list mainstay of any serious Yes fan
*- Cord of Life- Beautiful major chording that I have great memories of myself up-fretting that D-chord on my SG to my vicarious joy. So simple, but so effective.
*- Eclipse- The etheral beauty continues , with Steve Howe giving some Roger Waters like soulful guitar solo licks. The first two movements IMO are the highlghts of the LP
* The Preacher, The Teacher- Band continues with the same melodic line, and adds this movement in an innovative manner as almost a alternative chorus of the same song. But there are some subtle differences that you see that the band almost side angles the theme/product. Folks, this is prog, at its utter best.
*- Apocalypse- Almost a continuation of Preacher, and just more icing on the cake.
Siberian Khatru- Another course correction. Song has an almost funky base, but is much more complicated and melodic than that general genre. Chris Squire's work on this one is kind of unheralded, since this one was amost provided to Howe and Wakeman as providers of an instrumental clinic. I mean even harpiscord is added. There are no weak spots on this LP, but in a small sense, I feel the band might have put more into this one for style over substance. No diss in that fact, and trying to find a negative about this album is near impossible.
Half of the fun of doing these reviews is choosing an LP that is a joy to hear, like seeing a masterpiece. A masterpiece in essence of an audio painting that is 10X greater than the sum of its pieces. Yes is that kind of band. Their ability to extract such a complex prog sound with minimal effort is amazing. This band gelled so perfectly that it seemed they were in each others musical astral plane. They played as a collective, much like the Borg in Star Trek lore. And what makes us all love this stuff so well? Besides superior songwriting and ultra-top notch viruosity, this band has this genre bending ability that so delicately parses, and is presented in such a mesmerizing manner. It so easy to get lost in their work, and forget the majestic mastery.
Which, brings me up to explain why I didn't really care for this when it first came out. And the reason was musical maturity. When I was 15, I was jamming to Alice Cooper, Black Sabbath, and other bands in the era that had a lot more heavy sound and heavy hook derivative. I really didn't really really start get interested into Yes, until I starting cutting my Prog teeth with Rush in about 1976. Like a cold slap... I finally got it, and starting understanding and appreciating the value and worth of Progressive acts.
Close to the Edge is (was) kind of an artistic shift for the band. Everything before Close to the Edge had at least some element in the LP that had some radio appeal. And wildly, there were no '45's issued for this LP. 3 songs, and 37 minutes was partly why, but I think the band wanted CTTE to be that way. Still, this was absolutely unheard of in 1972. An album without a supporting single broke every rule in the music business at the time. But Yes was that great and popular at the time, and their record company knew it. Even without a supporting '45, the album still reached No. 3 on the charts.
I would be amiss, that there is a sad aspect here too. This would be the last LP with Bill Bruford as Drummer. Though he did a half stint on "Union" about 20 years later. Bruford is my favorite drummer during during Yes' career. It's hard too put a finger on why, but I think he is synonymous with the great classic sound of Yes' best period. Talent wise, I don't see that much of a difference technically between he and White. Just my personal preference maybe.
Since there are only three songs , with the first two, with four movements, I'll just up front say as far as my choices, i'd start with "You and I", as first, "Close to the Edge"- Second, and "Siberian Khatru"- 3rd. But song greatness in an order on this LP is pretty irrelevant. There are no weaknesses on this LP. As far as a reviews, I'd prefer you treat it as me being your tour guide instead of a critic. Or. just enjoy it without my input.
Fun Fact: Apparently this album was so weighed down by it's maestro like complex mastery, that Bill Bruford called making this album "Tortuous and like climbing mt. Everest. Disappointing that Bruford did not have the stamina or fortitude to stick with the Big Boys.
Side 1-
-------------
Close to the Edge. Song is broken up in 4 movements that I will hopefully try to discern. Sometimes the transitons are a little hard to read, but I will do my best.
*. The Solid Time of Change- Opening movement has highlights some great Squire bass work, as he Howe do some crazy chaotic inter-runs that are off the scale in complexity and difficulty. Key and time changes are not only prevalent, but cressendo/decressendo work is in a class of it's own. Anderson's voice as an example is stronger too.
*- Total Mass Retain- Anderson dominates movement with ease. Accompanment fantastically augments until the instrumental solo. Final part has that etheral like sound that seems almost as precurssor to some of the "Going For the One" work that will show up in about 5 years.
*- I Get Up, I Get Down- Very Anderson melodic work that delves into some spine chilling Wakeman church organ. I have made it no secret that my one most loved instrumental sound is a church organ, blasting chrords at a 100 db. Chills indeed.
*- Season of Man- In a crazy twist, the band moves to an almost Tarkus like approach to the conclusion. This harkens to a lot of Yes' roots with a strong Jazz like feel. You get it all here.
Side 2-
------------
And You and I- Another 4 movement piece that is a song play list mainstay of any serious Yes fan
*- Cord of Life- Beautiful major chording that I have great memories of myself up-fretting that D-chord on my SG to my vicarious joy. So simple, but so effective.
*- Eclipse- The etheral beauty continues , with Steve Howe giving some Roger Waters like soulful guitar solo licks. The first two movements IMO are the highlghts of the LP
* The Preacher, The Teacher- Band continues with the same melodic line, and adds this movement in an innovative manner as almost a alternative chorus of the same song. But there are some subtle differences that you see that the band almost side angles the theme/product. Folks, this is prog, at its utter best.
*- Apocalypse- Almost a continuation of Preacher, and just more icing on the cake.
Siberian Khatru- Another course correction. Song has an almost funky base, but is much more complicated and melodic than that general genre. Chris Squire's work on this one is kind of unheralded, since this one was amost provided to Howe and Wakeman as providers of an instrumental clinic. I mean even harpiscord is added. There are no weak spots on this LP, but in a small sense, I feel the band might have put more into this one for style over substance. No diss in that fact, and trying to find a negative about this album is near impossible.
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