CLOSE TO THE EDGE

" No doubt about it. To me everything I did with the group was leading uo to Close To The Edge ". -Bill Bruford

Close To The Edge contains all the pomp, pretention and bombast that critics of progressive rock have loved to loathe since the onslaught of the genre`s movement in the early seventies. But for conniossuers of this music which challenged the intellect much in the same way classical music did in by-gone eras it is a masterpiece of word, vision and sound.

Changes in personel which occurred on the previous two Yes albums certainly lead to dramatic changes in Yes`song arrangements which resulted in three relatively long tracks which took up two LP sides which was a daring prospect for any band in 1972. This would definitely challenge audiences attention spans and stylistic thresholds. Drawing largely on research and development which took place on the previous Fragile album released only months prior, Close To The Edge embraces many psuedo-baroque compositional techniques which are combined with standard rock instrumentation, most notably the sequential logic offered by the sonata form.

Lyrically, the opening 19 minute title epic explores the philosphical ideas presented by Hermann Hesse in his novel Sidharthra which is set in India during the time of Buddah and could also be taken as an invitation to indulge in his work. While not a literal portrayal of Hesse`s book it basically follows what co-composer Jon Anderson refers to as a dream sequence to spiritual enlightenment using imagery created by church organs, an array of synthesizers, sitar-like guitars in addition to operatic- like vocalizations and consequently the tensions experienced by the seeker on this surreal path are portrayed both instrumentally and stylistically where the classical form meets modern technology. And You And I follows suit after the point of attainment with other hippie philosophies which seek out other portals of consciousness and continue on in creating similar moods of granduer with more organs, slide guitars and just about every synth available to the modern musician in 1972. The final track, Siberian Khatru, rationalizes itself into a more of a rock song courtesy of drummer Bill Bruford who suggested it`s catchy main riff. Mention also should be made of the Roger Dean artwork which graces the original gatefold record jacket with the main painting appearing appearing inside the gatefold. It reflects the concept of truth and enlightment with a minimulistic main cover which represents the grey area of consciousness before a seeker embarks on the journey with the point of hardship and the source of enlightenment being revealed in the serene painting once the cover is opened.

Objectively speaking not the band`s most accessable work as the pomp and circumstance might be a little over the top for some. Nonetheless, Close To The Edge is without question one of the defining albums of prog-rock`s glory years of the early seventies. Unfortunately, Yes decided to beat the Close To The Edge concept to kingdom-come on subsequent work resulting in the loss of two key members, drummer Bill Bruford who threw in the towel even before the album was mixed and keyboardist Rick Wakeman who lanquished on through the monumental catastrophe which would take form as Tales From Topographic Oceans which would give pop music critics even more fodder to feed their campaign agianst the whole genre of progressive rock.

Close To The Edge is a work which should be taken on its own merits because it was a zenith point both for the band and the progressive rock era and stands alone in that sense. It must be listened to on an original vinyl recording which was the canvas of progressive rock bands of 1972 or the full effect of this unusual example of modern music will not be gleaned. Although the 2003 Elektra CD remaster makes a noble attempt at recreating the original album with it`s miniature gatefold cover and lyrics sheet ( as well as bonus alternate takes and a single edit ) it simply does not compare to the brilliance of the original package which included a colour booklet and record dust sleeve with lyrics also penned in by Roger Dean. There are no substitutes. It would be like looking at a masterpiece by Vincent Van Gogh or Claude Monet recreated on a bubble gum wrapper.

One of the most important recordings in the history of rock music which arrived with anticipation, controversy and beauty just like the works of many great composers were in their own turbulent times.