Yes: Close To The Edge - 1972

 

This album contained only three extended, multi-passage tracks, something that exemplified prog rock's propensity for indulgence. It was this apparent musical hedonism that put me off at the time and continued to do so for the best part of forty five years. 

Assessing the tracks through their periodic good bits allows me to appreciate them a bit more these days, but the eighteen minutes plus of Close To The Edge (which took one whole side of the album) sounds a lot like a preposterously extended jam to me, with the different musicians showing off their virtuosity. For some, it is no doubt a work of genius. I can see why, but I can also argue strongly against it. Of its type, however, I have to come down on the side of its being perfection. It is classical rock music. As I said, though, you get some seriously good bits - Chris Squire's bass is mightily impressive throughout, Bruford's drumming equally so and Wakeman gets funky on his keyboards with pleasingly regularity. The vocal delivery reminds me of Pink Floyd from the same era. I love the funky guitar breaks too and the cymbals-organ-bass interplay around eight minutes in. The rock bit at fourteen minutes is great too. I think I'm doing quite well with the positivity at the moment. 

And You And I merged acoustic and heavier electronic music effectively. When it raises its tempo after about a minute and the evocative Anderson high vocal comes in it presages the 1977 hit single, Wondrous Stories (a song I always liked). Again, I have to say that I like this. I love the catchy little organ break at around six and a half minutes and the huge, rumbling bass that follows it. 

Siberian Khatru is wonderfully funky. As a funk aficionado I love it. It has that keyboard-driven funkiness that Led Zeppelin used on Trampled Underfoot. If it wasn't for the instantly recognisable vocals I would never have said it was Yes. It has some excellent, rhythmic bits in it as well. I can't speak too highly about this wonderful, instrumentally brilliant track. 

Also included on the latest version is the group's surprise hit in their proggy, slightly bonkers cover of Simon & Garfunkel's America. It is heavy, proggy, funky and even Santana-esque Latin all at once. Its 'b' side was a section of Close To The Edge, titled Total Mass Retain, that works effectively in isolation in its Floyd-influenced way. Bits of the guitar remind me of Steely Dan too. 

Overall, as a fan of Glam, pop, Motown, soul and reggae amongst other shorter more commercial genres, this sort of thing goes against the grain of much of my taste, but, as I am finding out, it is not without its good points. A bit like having a vegetarian meal - it's quite enjoyable but there is no way I could eat it (or listen to it in this case) everyday. 

For many more knowledgeable critics than myself, this album was seen as the beginning of the end for Yes - Bruford left after this (exhausted, maybe) and Wakeman departed while recording the next album. It was Anderson, Squire and Howe's thing, all that mystical over the top indulgence. Next came the by now obligatory sprawling double album. I think I'll leave that for another day....