“Yes, Close to the Edge is like super nostalgic record. This was my go-to sleep record for like a few years... it has one of my favorite guitar solos on it.”
Close to the Edge
Released in 1972, this album exemplifies the progressive rock genre with its intricate compositions and virtuosic musicianship. The title track, a sprawling 18-minute journey, showcases the band’s signature blend of complex time signatures, lush keyboard arrangements, and dynamic shifts in tempo. The layered textures created by Rick Wakeman's expressive keyboard work, combined with Chris Squire's resonant, melodic bass lines, contribute to a rich auditory tapestry that envelops the listener. The album opens with "The Revealing Science of God (Dance of the Dawn)," which features ethereal vocals from Jon Anderson and an expansive, almost symphonic quality that evolves over its lengthy runtime. The seamless transitions between sections reflect the band’s ability to fuse rock with elements of jazz and classical music. The track "And You and I" stands out with its delicate acoustic guitar introduction, gradually building into an intricate interplay of electric guitar and synthesizers, highlighting Steve Howe’s dexterous guitar work. In terms of production, the album captures a sense of grandeur, thanks to the meticulous layering and the use of analog recording techniques, which lend warmth and depth to the sound. Contextually, "Close to the Edge" arrives at a time when rock music is exploring more ambitious themes and structures, paving the way for future experimentation in the genre. The album remains a defining work of its era, illustrating the band's artistic vision and the broader cultural currents of the early 1970s.
“Close to the Edge by Yes is definitely like an album for people who play instruments, but my favorite bass player of all time and musical hero Chris Squire... it's only three songs, one's 20 minutes, that said it is not boring, it's very very very pleasing to listen to.”
Tracklist
3 tracks · 37:50 · click to previewKeep digging.
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