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| Close to the Edge (Yes album) | |
|---|---|
| Name | Close to the Edge |
| Type | studio |
| Released | 15 September 1972 |
| Recorded | February–March 1972 |
| Studio | Advision Studios, London |
| Genre | Progressive rock |
| Length | 37:52 |
| Label | Atlantic |
| Producer | Yes, Eddy Offord |
Close to the Edge (Yes album) is the fifth studio album by the English progressive rock band Yes, released in 1972. The album is noted for its long-form compositions, virtuosic performances, and sophisticated production, marking a high point in the band's collaboration with producer Eddy Offord and engineer Tony Visconti. It consolidated Yes's international reputation alongside contemporaries on the Atlantic Records roster and influenced subsequent progressive rock acts and progressive metal musicians.
Yes formed in London in 1968 from personnel associated with Marmalade (band), The Syn, Cousin Alice, and The Warriors (band), solidifying a lineup featuring Jon Anderson, Chris Squire, Steve Howe, Rick Wakeman, and Bill Bruford. Prior to the sessions for this album the band had released The Yes Album, Fragile (Yes album), and Yessongs, touring extensively in United States, Europe, and Japan, while interacting with peers such as King Crimson, Genesis (band), Emerson, Lake & Palmer, Pink Floyd, and Jethro Tull. Financial arrangements with Atlantic Records and management under Brian Lane shaped scheduling, and the band entered Advision Studios with engineer Eddy Offord to record during February–March 1972. The sessions saw experimentation with multi-track techniques, analog mixing consoles, and contributions from guest technicians linked to Trident Studios and Wessex Sound Studios. Disagreements over arrangements and song lengths reflected tensions similar to those experienced by Yes (band), Gentle Giant, and Van der Graaf Generator during extended studio projects.
The album contains three tracks, anchored by the side-long title suite inspired by Sanskrit themes and philosophical texts associated with Hinduism, and drawing on lyrical fragments reminiscent of works by William Blake, T. S. Eliot, and the mystical imagery of William Wordsworth. Jon Anderson's lyrics reference nature and metaphysical ascent, echoing motifs found in The Lord of the Rings admirer circles and contemporary readers of Aldous Huxley and J. R. R. Tolkien. Musically, the record integrates motifs from baroque counterpoint, jazz-influenced improvisation, and classical music structures akin to those employed by Igor Stravinsky and Maurice Ravel in orchestration techniques adapted for electric guitar, bass, Hammond organ, Mellotron, Minimoog, and grand piano. Steve Howe's guitar work displays lines comparable to those of Jeff Beck, Robert Fripp, and David Gilmour, while Chris Squire's bass melodies evoke the melodic prominence of Paul McCartney and the rhythmic articulation of John Entwistle. Time signature changes and thematic reprises reflect compositional approaches used by Frank Zappa and Alex Lifeson. Rick Wakeman's keyboard textures, including organ flutes and Mellotron choirs, parallel techniques from Keith Emerson and Jordan Rudess. Bill Bruford's drumming incorporates polyrhythms and precision reminiscent of Ginger Baker and Neil Peart.
Released by Atlantic Records in September 1972, the album followed promotional tours across North America and Europe, including headline appearances at venues associated with promoters such as Bill Graham's Fillmore and festivals alongside Isle of Wight Festival alumni. Singles strategy differed from conventional pop releases used by Capitol Records artists; the focus was on long-format performance showcases on radio programs hosted by presenters like John Peel and appearances on television programs similar to The Old Grey Whistle Test. Management coordinated press with magazines including Rolling Stone, Melody Maker, NME, Creem, and Rolling Stone's contemporaries, while distribution networks of Rhino Records and Warner Music Group later handled reissues. Tour lineups included complex stage setups informed by production teams with experience from Yes (band)'s prior tours and technical direction influenced by innovations used by Pink Floyd and Genesis (band).
Upon release the album received critical acclaim in publications such as Rolling Stone, Melody Maker, and NME, earning praise for musicianship and compositional ambition while drawing criticism from some commentators aligned with the punk critique later voiced by figures tied to Punk rock outlets. The record reached high chart positions on the UK Albums Chart and the Billboard 200, achieving certifications from RIAA and BPI (British Recorded Music Industry Association). Its influence is traceable through progressive metal bands like Dream Theater, Queensrÿche, and Opeth, and progressive rock revivals involving Porcupine Tree, Marillion, and Spock's Beard. Musicians from Radiohead to Tool have cited aspects of the album's structures in interviews and liner notes, and the title suite has been included in academic discussions of popular music in books published by presses associated with Oxford University Press and Cambridge University Press. Retrospective lists by Rolling Stone and Guitar World rank the album among the greatest progressive rock albums, and anniversary reissues have featured remastering by engineers who previously worked with Abbey Road Studios and Masterdisk.
1. "Close to the Edge" – 18:45 2. "And You and I" – 10:10 3. "Siberian Khatru" – 8:57
- Jon Anderson – vocals, acoustic guitar, percussion - Chris Squire – bass guitar, backing vocals - Steve Howe – electric and acoustic guitars, backing vocals - Rick Wakeman – Hammond organ, Mellotron, grand piano, Minimoog - Bill Bruford – drums, percussion
Additional live and reissue personnel have included touring musicians associated with Trevor Horn-era sessions and later contributors linked to Alan White's tenure in the band.
Produced by Yes and Eddy Offord, engineered by Eddy Offord with mixing and mastering overseen by technicians experienced at Advision Studios and AIR Studios. The sleeve artwork, conceived by Roger Dean, features landscape motifs that became synonymous with the band's visual identity and links to illustrators common to Hipgnosis and fantasy art circles influenced by Frank Frazetta and Roger Dean (artist). Photography sessions for album portraits involved studios used by Rolling Stone photographers and set designers who collaborated with stage designers for contemporaneous tours.
Category:1972 albums Category:Yes (band) albums Category:Progressive rock albums