CLOSE TO THE EDGE

Taking the expected to be dry pen out of my fellow reviewer's hands, I write this with the highest regard. The fact that this album is the number one slot on the site's Top 100 is enough to spark any visitor's attention, but when you read the reviews for this masterpiece (the majority, which have granted this album an all-deserving 5 out of 5), it should become a high priority for you to check this album out. Here's my written devotion to this album, thrown with the others into the prog listener's Christmas stocking.

The title track Close to the Edge is, in essence, a song that could probably hit someone as hard as a great novel. The structuring of this song is approached similarly to a book. The beginning, rising action, climax, falling action and conclusion transmitted through the medium of instruments is something to behold. The nature sounds ascend into the frantic guitar and keyboard intro, weaving in and out of Bill Bruford's drum creating a tone of desperation. Some might think of Howe's guitar work as aimless in this point of the song, but you look at what the tone of the song is trying to portray here, and you'll realize how the setting of urgency is displayed all-too-well. Into the melodic part of the song, Jon Anderson patterns with Chris Squire in the verses and choruses of I Get Up I Get Down and the majestic setting of Anderson's voice and messages work brilliantly with the excellent melody. Heading into what I call the "choir" part of the song, Howe and Squire set a backdrop to a multi-part vocal harmony set by Jon Anderson, being an awesome atmosphere for the song at this point. Rick Wakeman takes the song under his flamboyant cape working with Jon Anderson to wheel the song into the next segment with a fine breeze. The climax to the song brought in by Bruford and the gang after they return is absolutely breathtaking, and this is so from Rick Wakeman's amazingly virtuosic keyboard solo. Brilliantly executed and melodically gut-wrenching, that moment proves that Wakeman deserves the high recognition that he has. Returning to the main theme of the song effortlessly is once again monumental, continuing with fine intricate playing and wonderful vocal harmony. The last verses and choruses take you to the finish line of a prog rollercoaster and leaves you yearning for more. The song Close to the Edge is what prog is all about and definitely sets a standard if there are to be any. (10/10)

And You And I works levels after the tour de force that is Close to the Edge, the acoustic guitar and sense of raw performance (you can hear studio talking in the beginning) elevating into an epic track makes And You And I makes Yes look like superhumans. The jump into the song with Chris Squire and Bill Bruford following Howe is incredible, finally merging into one of the most tasteful and melodically beautiful choruses made. This song also features a sense of strong improvisation combined with strong structure, you can hear this in Steve Howe's and Rick Wakeman's deviations from the melody while retaining it and switching it off. When Howe re-enacts the beginning of the song and enters the incredibly nice melody with Wakeman following, the song reaches an intense creative peak with Jon Anderson entering with emotionally proficient and beautifully setting lyrics, only to hear Squire enter in and bring a flowing atmospheric change to the song, working beautifully. Finishing, you'll realize how distinct this song's tone and atmosphere is from the last track, you get the sense of consistent impressive songwriting in the album with excellent variety. This point is only strengthened by the next track. (10/10)

Excuse me if I sound like a nerd here, but the intro to Siberian Khatru is like opening your eyes and finding yourself flying over an area remeniscent of a Roger Dean painting. What a fantastic atmosphere to the song and excellent melody and pacing as well. The musical interplay and intricate playing and improvisations along with the wonderful structuring of the song is truly something to be heard by anyone. The transitions and harmonies in this song sent shivers up and down my spine, especially Bill Bruford's ride entering Rick Wakeman's key solo, and then stepping up even further into a slide solo by Howe, amazing! Howe's fill back into an electric guitar solo after that is nearly too much excellence in a song. The particularly upbeat atmosphere of the songs next few parts work wonders with the intense section preceding, once again masterful play on melody and harmony by the entire band. The intricate vocal harmonies and Bruford's snare polyrhythms following leap in and out of a final play on the song's main theme taking you out of the trance-inducing dimension that is Close to the Edge, Howe's guitar acts as the keeper of this sacred place, literally saying goodbye. (10/10)

Personally I have not heard a more engaging or powerful album in my entire life, and I'm safe with the fact that this is my favorite album. Haha, now all I have to do is stop naturally comparing every album I hear to this one... [Reviewer's tilt (10/10)]

[OVERALL SCORE: 10 out of 10, or 5 stars]