CLOSE TO THE EDGE

Favorite Moment: 16:48-17:38 in Close to the Edge. A feeling of plenitude, as one would feel when understanding the meaning of life in the final moments of the journey.

Close to the Edge is a monumental staple not only in Yes's history but also in the history of progressive rock. Frequently cataloged as one of the best albums in the genre, Yes condenses, in 37 minutes and through just three songs, the pinnacle of their virtuosity, imagination, and musical creativity. I will provide an in-depth review of my favorite track, along with shorter mentions of the others.

And You and I is a beautiful tune introduced by Howe's 12-string guitar. Packed with metaphorical lyrics, this is a much lighter piece compared to the title track. We see a great vocal contribution by Anderson in this musically rich and eclectic song that, in classic Yes style, merges various inspirations. The use of phasers and flangers gives the tune a definitive "galactic" feel. Not my favorite track in its simplicity, but definitely enjoyable and emotive.

Siberian Khatru is the bluesiest of all the tracks, opening with Howe's electric guitar. It is quick-paced, carried by Wakeman's and Squire's contributions, which lay the groundwork for Howe's higher-registered lines. Howe plays much with repetition, providing a constant element in his four-to-five-note riffs that embellish the song. In my opinion, the weakest contribution the album in creativity, but still admirable in composition.

The title track is composed of four sections, each fitting coherently while contributing its own distinct characterization to the overall piece. There is a clear classical inspiration in both structure and melody - Jon Anderson even mentions being inspired by works by Stravinsky and Sibelius. The first section, The Solid Time of Change, provides the foundation in nature and eclecticism. It begins with a compilation of running water, birds, and forest sounds, quickly overtaken by a slowly ascending keyboard chord that leads into Howe's guitar. Through the layering of all instruments in clearly independent melodic structures, the complexity of the piece is revealed. Lyrics are introduced four minutes in, shedding light on the recurring lyrical motif: "Close to the edge...," which will be repeated and varied until the grand finale. The second section, Total Mass Retain, is brief and feels more like a variation of the first section. Its lyrics - especially "All in all, the journey takes you all the way - as we cross from side to side, we hear the total mass retain" - reinforce the idea of a journey through nature, recognizing the sublime forces that govern it, such as the law of conservation of mass. It feels as though we are traversing Roger Dean's surreal landscape depicted on the LP cover. The third section, I Get Up, I Get Down, carries perhaps the heaviest weight in shaping the song's overall mood. Most of this section revolves around Wakeman's performance on the pipe organ at St. Giles-without-Cripplegate. This unique choice pairs the religiosity of the organ with the repeated lyrical motif of struggle and perseverance: "I get up, I get down. Finally, we reach Seasons of Man, which brings back the cacophony and multi-layered "mess" introduced in The Solid Time of Change. Here, Wakeman's virtuosity shines in an impressive solo that paves the way for a new wave of lyrics. Beginning with "The time between the notes," the section revisits the themes of the first part but with a greater sense of urgency and repetition, accentuated by Wakeman's reversed chord progression in the background. At 16:36, the journey comes to its conclusion. A powerful buildup, presented through all the instruments, climaxes with "Seasons will pass you by," followed by a beautiful final variation of "I get up, I get down." There is a sense of plenitude, a completion in the sought out existential journey constructed throughout the piece.The motif is repeated, accompanied by rich instrumentation, and the piece closes with the sounds of nature: a true cycle of life.

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