YES CLOSE TO THE EDGE
1972 1st PRESSING ATLANTIC K50012
A1/B1 MATRIX
TEXTURED INSIDE & OUT GATEFOLD SLEEVE
VINYL IN NEAR MINT CONDITION
SLEEVE VG SOME SPINE WEAR AND RINGWEAR
INNER SLEEVE VG+ CORRECT DARK GREEN TINY TEAR TO MOUTH
I HAVE OWNED THIS RECORD FROM NEW I HAVE ENCLOSED A PRESS CUTTING FROM ONE OF THE MUSIC PAPERS DATED 8th JULY 1972  REVIEWING THIS ALBUM  WHICH WAS RELEASED IN UK ON 13th SEPTEMBER 1972

Close to the Edge (Yes album)

1. "And You and I (Part I & II)"
   Released: 1972

Close to the Edge is the fifth studio album from the English progressive rock band Yes, released on 13 September 1972 on Atlantic Records. Following their success with Fragile (1971), Yes began to produce extended pieces which resulted in Close to the Edge, an album formed of three tracks with the 18-minute title track occupying side one and "And You and I" and "Siberian Khatru" on side two. When recording for the album finished, drummer Bill Bruford had grown tired of the band's style and song writing methods and left to join King Crimson.

Released three months into its supporting tour, Close to the Edge was a commercial and critical success for the band. It peaked at number 3 in the United States and number 4 in the United Kingdom. "And You and I" was released as a single that reached number 42 on the Billboard Hot 100 chart. The album is certified Platinum by the Recording Industry Association of America for selling over one million copies.

Contents

• 1 Background
• 2 Production
  • 2.1 Recording
  • 2.2 Composition
  • 2.3 Sleeve design
• 3 Release
  • 3.1 Reception
  • 3.2 Reissues
  • 3.3 Bruford's departure and tour
• 4 Sales chart performance
  • 4.1 Certifications
• 5 Track listings
  • 5.1 Original LP & 2003 re-issue
  • 5.2 2013 Definitive Edition
• 6 Personnel
• 7 Notes and references
• 8 External links

Background[edit]

Following the release of their fourth studio album Fragile (1971), Yes enjoyed their greatest commercial and critical success since their formation. When their well-received 1971–72 tour of Europe and North America to promote the album ended in March 1972, the band started work on their next record. The line-up during this time was singer Jon Anderson, bassist Chris Squire, drummer Bill Bruford, guitarist Steve Howe, and keyboardist Rick Wakeman.

Production[edit]

Recording[edit]

After rehearsals at the Una Billings School of Dance in Shepherd's Bush, the band returned to Advision Studios to record their next album.[1] They were joined by audio engineer Eddy Offord, who had worked on Fragile (1971) and served as their sound mixer for its tour. Production duties were shared between Offord and the band. According to Bruford, he came up with the album's title to describe the state of the band at the time, as he had with Fragile. Bruford recalled "a cheap black velour settee at the back of the control room" where he slept one night as Squire was "poring over a couple of knobs on the desk, and jerking awake a couple of hours later to find him in the same place, still considering the relative position of the two knobs".[2]

Offord made the band's road crew "build a huge stage in the studio" to make the album sound "more live".[3] In one incident, after the band decided to use a particular edit of a track, the group found out the studio's cleaner put a piece of tape in the rubbish. Following a "desperate hunt for the missing section" in the bins outside, the piece was found.[2]

Composition[edit]

Side one of the album is occupied by its title track, of which Anderson and Howe share composition and lyrical credits. With a running time of 18 minutes and 43 seconds, it is the longest song the band had recorded at the time. The track was assembled in pieces throughout, as Bruford described, "in ten, twelve, sixteen-bar sections".[1] Anderson based its theme and lyrics from reading Siddhartha by German novelist Hermann Hesse. Reflecting on the song's lyrical content in 1976, Anderson noted the concluding verse is a dream that he had "a long time ago about passing on from this world to another world, yet feeling so fantastic about it that death never frightened me ever since".[4] Wakeman's organ solo was originally a section written by Howe for the guitar, but he thought it sounded better on the organ.[4]

Side two opens with the ten-minute track "And You and I", written by Anderson, Howe, Bruford, and Squire. The spiritual influences introduced by Jon Anderson are already evident in the music and lyrics of all three tracks on Close to the Edge. Renewal and repetition are other main themes; the title track starts and finishes with the same sound effects of running water and birds, and in "Siberian Khatru" there is the repetition of two-syllable words and phrases. The album closes with "Siberian Khatru", the only track where Wakeman receives a writing credit. Anderson described the track as "just a lot of interesting words, though it does relate to the dreams of clear summer days".[5]

Sleeve design[edit]

The album's sleeve was designed and illustrated by English artist Roger Dean, who had also designed the cover forFragile (1971). It marks the first use of the Yes "bubble" logo. Some of the photography used was shot by Martyn Adelman who had played in The Syn with Squire. On reflection of its artwork, Dean said: "There were a couple of ideas that merged there. It was of a waterfall constantly refreshing itself, pouring from all sides of the lake, but where was the water coming from? I was looking for an image to portray that".[6]

Release[edit]

Close to the Edge was released on 13 September 1972, three months into the band's 1972–73 world tour to promote the record. It was their biggest commercial success; the album peaked at number 3 on the US Billboard Top LPs chart and number 4 in the UK.[7][8] "And You and I" was split into two tracks and released as a single titled "And You and I (Part I & II)" that peaked at number 42 on the US Hot 100 singles chart.[9] The album is certified Platinum by theRecording Industry Association of America for selling over one million copies.

A promotion-only version of the LP was distributed to US radio stations that featured the title track split into shorter segments. This was done to increase radio exposure as most radio stations did not want to air an 18-minute song. Most of the segments were in the range of 3 to 5 minutes and all were marked on the record to assist disc jockeys.

Reception[edit]

Upon its release, Close to the Edge received favourable reviews among critics. In a positive review,Billboard selected the album in its weekly "Billboard Pick" feature, noting that Yes had "progressed to the point where they are light years beyond their emulators, proving to be no mere flash in the pan. The sound tapestries they weave are dainty fragments, glimpses of destinies yet to be formed, times that fade like dew drops in the blurriness of desires half-remembered. All involved deserve praise and thanks, this being not a mere audio experience, transcending the medium it brings all senses into play."[16]

In a special edition of Q and Mojo magazines published in 2005, Close to the Edge came in at number 3 in its "40 Cosmic Rock Albums" list.[17] The record is also listed in the musical reference publication 1001 Albums You Must Hear Before You Die by Robert Dimery. In a reader's choice list of the "100 Greatest Guitar Albums of All Time" for Guitar World, the album came in at number 67. In his review for AllMusic, Dave Thompson writes:

Close to the Edge would make the Top Five on both sides of the Atlantic, dispatch Yes on the longest tour of its career so far and, if hindsight be the guide, launch the band on a downward swing that only disintegration, rebuilding, and a savage change of direction would cure. The latter, however, was still to come. In 1972, Close to the Edge was a flawless masterpiece."[10]

Close to the Edge is ranked number 1 in Prog Archives's top album list, with an average rank of 4.65 stars.[18]

Very very shortly I will be listing another of my original classic 

YES albums in NEAR MINT CONDITION ,

 this time it is..