CLOSE TO THE EDGE

The epitome of the classic prog album and inarguably one of the finest records representing the genre to have ever been released, Yes' fifth studio LP 'Close to the Edge' is quite certainly a perfect album on any level, proving that the legendary band just got better and better with every new release ever since they were formed. Gradually expanding and developing their sound, the band truly reached new heights on 'The Yes Album' and they expanded their sonic scope even more on 'Fragile', but it is on 'Close to the Edge' where they really achieve some virtually divine results, setting a model for every prog rock album released after 1972.

This legendary album is the second one on which most people's preferred line-up of the band plays, and this is, of course, Jon Anderson on lead vocals, Chris Squire on bass and backing vocals, Steve Howe on guitars and backing vocals, Rick Wakeman on keyboards, and Bill Bruford on drums and percussion, with Eddy Offord engineering and co-producing the album that had its gorgeous green watery cover artwork painted by none other than Roger Dean. Not only this, but 'Close to the Edge' is the first album on which Yes display their iconic logo, sketched once again by Roger Dean.

After the successful 'Fragile' which had an interesting structure, with the several shorter pieces written by each band member, intertwined with the longer compositions, Yes embraced the latter model of writing entirely for their fifth studio album - and thank God they did! The final track list features just three songs, none of which fall under nine minutes of playtime, which is well-known by all fans of the band and all progressive rock lovers.

Opening this fantastic album, is the absolutely astonishing 19-minute title track, comprised of four segments - 'The Solid Time of Change', 'Total Mass Retain', 'I Get Up, I Get Down', and 'Seasons of Man'. Certainly, the most well-recognizable prog rock epic, this extravagant composition is quite flawless, inspiring hundreds (and possibly, thousands) of bands afterwards. The sound could be described as heavenly and otherworldly, with the nature soundscapes in the beginning (that took two days to record!) flowing into one of the most bizarre and shockingly enjoyable instrumental parts ever recorded in rock music. This borderline cacophony sees off some manic drumming, masterful bass playing, explosive guitars and almost-Morse code-reminiscent keyboards - yet somehow, this is exuberantly compelling to listen to and to get immersed into. Majestic vocals from Jon Anderson all throughout, as he sings some of the more undecipherable lyrics one can find in the Yes catalogue. The bass playing is unbelievable, with Chris Squire being an unmatched master of his instrument, his playing on the whole album, and especially on the title track, could hardly be humane. Steve Howe does the same with his instrument, his riffs are simply ingenious. Rick Wakeman also shines, most brightly with the otherworldly church organ section from the second half of the song - a section that was recorded simultaneously with the band playing in the studio and Wakeman playing the pipe organ at St Giles-without-Cripplegate church in Barbican, London. Interestingly enough, Bill Bruford never played the whole title track in its entirety, as it was recorded as separate parts that were 'sticked together' in the studio - this, however, could hardly be heard, as the result is quite immaculate.

'And You and I' is another band staple, with a more acoustic and folky feel to it, this is one of the most well-known prog rock love songs! Despite being 10 minutes long, this song is also divided into four segments and unlike 'Close to the Edge', which was written by Anderson and Howe, this one is a band effort. A must-hear and a favorite of many! Then the album comes to an end through the third and final song, the absolutely bombastic 'Siberian Khatru' - another iconic song by the band, often present in their live sets, and often featured in many fans & magazines' 'best prog rock songs' lists. This one is more like the title tracks, with the acoustic and dynamic counterparts, on which the band goes ballistic once again, with indescribably blissful instrumentation and soloing. This is the only song on the album, to which Rick Wakeman is also credited as a writer - and his playing on it is truly mesmerizing!

'Close to the Edge' is a grandiose and critically acclaimed achievement, both for Yes, and for the progressive music genre. This album showed a perfect blend of rock instrumentation, with classically-inspired writing and instrumentation, topped by an occasional jazzy attitude, while also presenting in a beautiful manner the more pompous and close-to-the-edge side of progressive rock, its most lavish and adventurous aspects, and the sci-fi-tinted lyrical content that seems to be a must in many of the most iconic 70s epics. Flawless record from start to finish, one of the hardest to digest, despite its 'compactness', this album's making was so intense that Bill Bruford left after its release and unfortunately never toured it! Mind-blowing music, simple but effective and memorable artwork, stunning musicianship, masterful recording, and a few interesting stories surrounding it like an aura, 'Close to the Edge' has to be one of those 'must-hear albums before you die'.