Close To The Edge

This album is super important for what it is and also what it isn't. What it is is one of the most pure distillations of prog rock and rock's musical excesses (if not necessarily the chemical excesses). But its overwritten, ornate Baroqueness helped to inspire punk music as a reaction against this brand of complex-for-the-sake-of-complex tryhard bullshit. Prog and punk happen to be my two favorite subgenres, so this one is extra meaningful to me. Beloved for three perfect songs (out of a possible three, hah!), if not any semblance of brevity. One more thing before I hit submit: early on in the title track there is a happy, sweet guitar melody that could have been a lead on a Queen song. Much later the same motif returns as a more sinister and dissonant version with ugly-sounding harmonics from a ring modulator. It's fuckin sick and it demonstrates my favorite joke about prog rock. If you don't like what you're hearing, wait five minutes.

An absolute masterpiece of progressive rock. Long-winded gorgeous songs with so many moving parts. It's not for everybody, but it is most definitely for me.

I worked on this archaeological dig in Israel where two guys who were in seminary to be monks were in charge of dealing with all the buckets of dirt we'd sifted through. They made a complete replica of Tolkien's hobbit shire out of these buckets of dirt. One time I accidentally walked in on them hanging their freshly washed underwear and even though they were fully clothed they were horrified that I saw their underwear on a clothesline. I bet they really liked this album.

This is one of my all-time top 5 favorite albums. Truly a masterpiece from start to finish. 5 stars.

I tried. Music from the head not from the heart yo. Listened to some Christy Moore instead though that was banging.

it's literally my favorite album and every time I listen to it it's as exactly good as the first time.

This is it folks. One of the few moments where I can excitedly proclaim that the fans of a genre have made listening to something unpalatable. I have not touched prog rock, because prog rock has some of the douchiest shithead fan bases I have ever met. But this right here is an easy five, from the almost storytelling soundscapes to the beautiful use of old and new instrumentation. And the vocals have a great Glam/Folk Fusion sound that I love.

Such a thrilling album! It felt like an adventure from beginning to end! Beautiful sounds, great dynamics, perfect length, wonderful ambience.

No.

I've only ever listened to Fragile but damn did I love this one. The first track may have been 19min, but it did not feel like it at all. Great prog with a lot of fun influences. Favorite track: "Close to the Edge"

This sounds like good musicians made songs to prove they were good at music. Not for me.

Close to the Edge is the greatest progressive rock album ever made. A perfect 5 star record, not a wasted note to be found. Perfection. ::chef’s kiss::

I love Yes! <3

Prog at it's best. 10/10

The beginning of the first track was a little too zany for me and I thought that this would be a terribly rough ride. After the first few minutes, it settled down and I started to find some enjoyment. It is still a little at arm's length for me, but I listened to it twice while I was working and was always surprised, and maybe slightly disappointed, when it ended.

YES! YES! YES! Must listen for all prog fans.

This is already one of my favorite albums

Very very special and interesting. Sometimes it has supertramp vibes, others reminds me of Pink Floyd

Prog is not a four letter word. Embrace the dramatic power.

LOVE the transitions. This album is super cool

I get up! I get doooown!! One of my favorite records ever and maybe THE definitive headphone album of all time. (Pink Floyd doesn’t have a pipe organ, sorry.) I haven’t listened to enough prog to really say this is the high mark of the genre, but it sure as shit feels that way. I really think it has so much to do with Jon Anderson’s voice. The rest of the band all go ten directions at once, but that voice - it always cuts through the mix and invites me in. In some ways, it’s a really sweet record; the main melody of “And You and I” feels like it could be a Cat Stevens song sung in a higher register. I think that’s what makes Yes the G.O.A.T. When they’re at their best, the vocals and melody isn’t there just to support the progressiveness of the composition of what the other instruments are doing. It soars above all that. But goddamn the instruments. Insane. The synthy moment in the 2nd movement of “And You and I” always makes me think of 2001: A Space Oddysey. It’s transportive and catharsis in such a specific way. Ditto that pipe organ in the title track. Craig, I’ll recommend finding a clip of them playing the title track live back in the day. They’re on YouTube. You kind of have to commit to taking in that song without doing anything else for it to click, but if it clicks look out. Also, you know damn well that a bunch of teens saw these dudes playing twenty minute songs while literally dressed in capes and were like, “Yeah, fuuuck that.” And thus punk was born. Which is awesome! But so is Yes.

I like a lot of Yes songs, but this album was a hard listen. I imagine this is what it feels like in a schizophrenic's brain

This is Mars Volta right? I mean, it sounds exactly like Mars Volta. Didn’t realise they were Yes fans. Love this. Love it so much. I give it 5/4 stars

One of my favourite albums already so I think you know what the score will be! This is dad rock and I stole it out of my dad's record collection..... These musicians were at the peak of their trade. It's a pleasure from start to finish. If some people want to pigeonhole this and close their ears that is their choice but this is pretty damned near perfect. Constantly changing and reinventing, never dull and played, produced and sang with a skill beyond 99% of todays wannabes. That slow building opening leading the the explosion of sound is like no other. It never lets up and stays with you for the rest of your life if you open your soul.

What do you get when you combine the most creative and deft drummer in rock, the most phenomenal bass player in rock, the most nimble and unique guitarist in rock, the most masterful keyboardist in rock, and the most pure and beautiful tenor to ever front a band? You get Close to the Edge! What a soaring triumph of an album! :) Seriously though, these guys are all complete MASTERS of their craft individually. It's ASTONISHING! The fact that they all managed to be in the SAME BAND is practically a miracle. Yes' bassist was more integral to the band's sound than any other bassist of the 70s; the sound he got out of his bass is unreal; so visceral and punchy. Steve Howe's guitar work is insanely original; he plays so swiftly in a way I have never heard any other guitarist play, and I listen to a lot of guitar! Bill Bruford could play ANYTHING on the drums. Sure, he wasn't as loud as other famous 70s drummers, but he could play more intricate, complex rhythms than all of them by FAR. The keyboardist has literally written symphonies, so that should tell you something lol. And who in rock could belt out high tenor notes so beautifully and sweetly as Jon Anderson?? No other band of the 70s of the world could've written this album. None! The sheer creativity and technical skill it must've taken to write this album boggles my mind. As someone who plays several instruments and knows a good amount of music theory, this album dazzles me. This album is rich in complexity, and each new listen unearths new secrets. Even if you don't like it personally, if you are not exceedingly impressed by this composition then you aren't paying attention... While Yes, for some, symbolizes the excesses of progressive rock, I truly think the highs of Yes' music are among the very highest in ALL OF MUSIC. Period. I never knew how magical music could be until I found this group.

What a wild ride. Very fun album. Some of early progressive's finest.

There are so many things to dislike about this album. Ridiculously long songs, Anderson's helium-infused vocals, the sheer wankery of some of their vocals. Yet I really like it and it took me a while to realise why. When they get in the groove they rock! Somehow they stay in the groove even through all the key and time changes.

::wanking motion::

I liked the organ, but that's about it. It's a no for this Yes album.

Only three songs. And yet, all three of them are key songs in their repertoire, ones that have been played now for over 50 years. And I never tire of hearing them. They are perfect songs to me, each member working in perfect sync. It's hard to believe that this was it for Bill Bruford, but really there's nowhere else for him to go in that band. The only flaw in this album is that "Siberian Khatru" fades out, when the live versions have a better ending (at least for me). This is the album I would tell people if they think they know Yes, they truly have not heard them. One of my favorite albums of all time.

Probably my favorite Yes album that I've listened to

This is our second Yes record out of our first 100 or so. I was really surprised by how much better this one held together for me. The intricacy of the arrangement feels much more melodic and restrained than Fragile. It's like they toned down the goofiness and came out the other side with a much more cohesive and moving record. Now I see what all the fuss is about. Favourite track: Close to the Edge

I’m not really a big fan of prog outside of Pink Floyd nor do I particularly like Jon Anderson’s voice. However the bass goes bwoom.

This one was definitely hard to wrap my head around and needed a second listen. Even as a fan of progressive metal I found Close to the Edge pretty overwhelming. It's easily enough material for two full rock albums pressed into one 18 minute song. The question of how good it is - outside of just being complex - is a different one. While I enjoy the different styles and experimentation, I am sort of missing a feeling of cohesiveness where the different styles and elements would point in the same direction. Another point of objection is the vocals, which are somewhat bland and don't feel like they do justice to the mind-boggling instrumentation. This turned out a difficult one to rate as well. I'd like to give a 4.5, but I'll round it down because the Simon & Garfunkel was sort of awkward.

Well, at least the onslaught of early 80s albums has come to an end (for now), but I'm not sure the emperors of prog rock were really who I envisioned replacing them. But so they did, and I can't imagine a bigger contrast between short and sweet synth-pop cuts and this epic album set in long-form bombasity. I can't really say I enjoyed any of the three tracks, but I have to say I'm quite impressed that they managed to put together an 18-minute-plus song/assemblage, especially given how it sounds like their creative process in the studio was to literally campaign and vote on every instrument and bar at every step. (Less impressive, but totally understandable, was poor Bill Bruford's departure to King Crimson after the album was completed; it's a wonder that most of the rest of the band didn't hibernate for years after a grueling recording process.) One of the things that's struck me with these early 70s albums, and this one in particular, is how different each era has been in terms of what's popular and what's appreciated, both musically and more generally. It's equally baffling to me that this album was so well-received (and purchased), and the same with Joni Mitchell's "Blue", not to mention films like "The Conversation" or even "The French Connection". All of these would likely get little to no attention or traction even 15-20 years later, let alone in the 2020s, but I for one appreciate the chance to listen to these albums that I'd likely never have played if I hadn't heard them when they came out. (I'm also very grateful to Yes that this prog-rock manifesto is mercifully short overall; as a non-fan, this is hard to slog through....)

Most often I want my listening experience to be a bit easier that progrock accommodates. Listening to this album really solidified this in my head. I guess I'm **capable** of thinking about what I'm listening to, but largely choose to let my mind wander. Yes, for me, demands full attention. Kind of exhausting honestly.

Now I understand why people aren't interested in prog. The shorter the tracks get, the better they are by far.

It’s hard to imagine that music like this was genuinely popular at one point. The peak of rock sophistication.

It’s my birthday and the 1001 Gods have really come up trumps with this selection. Just checked back and saw the last year I got The Yes Album the day after my birthday and complained that I should have had it the day before on my birthday. So does someone read and actually watch these ramblings? Certainly my favourite Yes album and in my top 5 of all time. The nature of my top 5 is such that each one of them at one time or another occupies the top spot. Back in 1972 this was the greatest album by far. This was groundbreaking Prog, is still and will always be a Prog classic. The album means a lot to me and is the backdrop and soundtrack to a lot of significant events in my life. I was a young policeman when the album was released, posted far from home in Mexborough, South Yorkshire, an environment very alien to a wet behind the ears 19 year old. These were the days even before personal cassette players so music consumption was done solely at home cramming in every note so when I was away on duty I was able to recall the music albeit in my head. So when trudging around Mexborough on night duty the sounds of Rick Wakeman’s soaring and climatic keyboards on I Get Up, I Get Down filled my head. I recollect once stood at the top of Wath Road marvelling at the nighttime view of the mining pits and related industries lighting up the sky with the sound of the majestic Mellotron and superb guitar work on And You And I recreated in my brain. An image I will never forget and alas due to the de-industrialisation of that area never to be seen again. Nevertheless due to in part this music, something that will always live with me. Just a small but one of many memories I have associated with Close To The Edge. An album I have been so lucky to have in my life and which I celebrate on my 73rd birthday. 5/5 4/5/26

the greatest pop band in the world gets 18 minutes out of the greatest pop song in the world. yes have never been the most structurally adventurous prog rock band...compare to the more dizzying, intricate epics of genesis or king crimson or something even less conventional like van der graaf generator, and you'll scratch ur head wondering how they ever became the posterboys for "prog excess" (at least until you hear topographic oceans, but that ones a masterpiece too lol). or god forbid, prog "soullessness"...jon anderson sings like he's just descended from the mountain with a spiritual message that must reach humanity as soon as possible, and the rest of the band matches his tone while still being some of the most individually identifiable and personality-filled lineups in the whole genre, certainly at this point. the only thing more important than the unbelievable releases of emotion all over this thing are how perfect all the Buildups to those releases are. i dont need my prog to be this oriented around The Listener, but i think i always rly appreciate it with yes because it sounds Participatory, they have found the enlightenment i now get to partake with them at the same time, preserved on wax for all future generations. only possible quibble: maybe the title track should have taken up side 2! direct comparisons to it are the only thing holding the side 2 tracks back. from start to finish this is basically what music is all about...and striving actively to be so in the highest potency it can manage in skill, vision, courage, curiosity, and sincerity. if its overrated, its only because contact with it wont actually physically heal you.

Yes is one of the few bands who can pull off an 18 minute song. This album is lush, very well constructed and contains moments which sound surprisingly contemporary. With its use of unusual rhythms and jazz fusion like melodic lines, this album pushes hard on what it means to be a ‘progressive rock’ band. At points this album sounds like contemporary indie folk before dropping into a fusion groove. The harmonies give a CSN vibe within a completely new format. Simply put, this album shouldn’t work, but it just does

Does everything right I'd expect out a prog album. Three highly impressive tracks tied together by a central philosophical theme. Probably Yes's best album. Title track is divided in four movements. First movement is a perfect opener, which spiritual nature noises immediately setting off into insane guitar work that sounds so disjointed until abrupt breaks show they know what they're doing. It's symphonic and atmospheric, placing the audience in a position with any number of instruments and noises to shift focus on at any given moment. Vocalists are great, constantly shifting and matching the music. Good pacing, knowing exactly when to change in style to keep the music engaging while still retaining aspects like the chorus to maintain consistency. Geesh, when that organ hits in the third movement, swapping back and forth with the melancholic chorus. Love how the fourth movement largely reverts to the first but ties together the other two movements as well. Everything is tied up nicely in those last two minutes. It's a perfect track with no weak points at any minute in the song. The other two tracks on the second side also have good pacing and follow up on the themes discussed in the title track. "And You and I" is a mellower track, becoming triumphant in the middle. My favorite part in "Siberian Khatru" are the brief instruments about a quarter in, and also the vocal noises later. I don't how they're making many of the sounds in the album, but whatever they're doing it's working, drawing my attention while also being pleasing to hear, never overstaying their welcome.

this record blew me away in a way i was not expecting. 5/5

Masterpiece

10/10. Prog Rock gold.

I love prog. Can’t decide on my least favourite track on Close to the Edge.

not much to say this is a masterpiece

Me acuerdo cuando me cagaba el rock progresivo y me da risa. 5 ESTRELLAS.

Fantastic!

classico

ODÖDLIG KLASSIKER TITELSPÅRET ÄR 7/5

As an album actually quite cool. Obviously had some thought about it, but a bit weird to throw a cover (two?) in there. 7/10

I need to spend more time with this one because on think over time it might land at a 4 or 5. Have revisited this several times now and, as I expected I'm digging it more and more.

Yes is a great band. They are timeless by their own experimental nature. I am not a superfan but not adverse to them. I suppose I do not really have them on my playlist as their style is just a bit too tangent from my general tastes. I suppose they have a kind of classic feel while being outside any era. They were WAY ahead of their time to be sure, and this is an interesting album as most of them are from Yes. I do not know enough background to know if they are singular or canon as a group, but they are worthy a listen and you might find them more interesting than I do as a personal taste thing. However, they were definitely willing to put it out there judging from when this album came out so that is worth a star by itself!

I feel that one of the things that happens when prog rock gives into it's worst impulses is that it forgets the rock part entirely. And Close To The Edge, despite being comprised of three massive songs, with one as the obvious conceptual centerpiece, *does* remember to rock. It's honestly one of the weird things that I think sets Yes apart from some of their peers. They can still write genuinely cool passages and haven't lost sight of what makes a great rock song, even if they kind of stretch these "great rock songs" into huge, winding epics. Honestly, despite the structure of this album, I kind of think it's one of Yes' most approachable. The title track is pretty gripping from beginning to end, and the other two are also very enjoyable. And, very importantly, the album ends up at a very digestible ~37 minutes. I can digest an 18 minute long prog song if it's part a pretty brisk project, and in this regard, one could argue that some real restraint went into Close To The Edge. Regardless, Yes again shows some of the best that prog can provide by anchoring their epic ideas in familiar rock structures that serve them well.

I don't understand the reason to hand several songs as one track, but I really liked this one

wait cause this is eating

WOW. Was not expecting this at all. I knew they were prog, but I thought it'd be along the lines of Rush. This is a melodic Beefheart or Zappa at double tempo, and clearly influenced bands like Mars Volta and Black midi. Unreal for 1972! Though I will say the vocals are not really to my taste.

prog that doesn't make me want to die

Album incroyable, je n'aurais pourtant pas misé un copec dessus, ce qui me rapelle une anecdote que je vais vous partager. A l'époque où je passais mon examen du permis de conduire, j'ai proposé une très mauvaise performance face a mon examinateur. Le stress de l'examen me poussa a faire une erreur qui semblait éliminatoire. Je rentrais chez moi très déçu, et l'annonce du déroulé de l'examen à mes parents fit l'effet d'une bombe. Ils etaient fous de rage, me repprochant de ne pas avoir assez exercé la conduite avant de passer l'examen. Cependant, quelques jours plus tard, le resultat me parvint sous la forme d'une lettre recommandée. J'apprennais alors que j'avais réussi mon examen d'une courte tête, et était ainsi l'heureux titulaire du precieux sésame, au nez et a la barbe de mes géniteurs. Ceci prouve donc bien que cet album était excellent, et si l'on lit bien entre les lignes, on peut même deviner la note de 4/5.

Ich bin irgendwie zutiefst betroffen, dass es den Tod gibt und damit solcherlei Entdeckungen ganz unverschämt einschränkt sind; und doch bin ich auch von dieser Entdeckung zutiefst getröstet.

I liked it. Very groovy.

It’s classic

Slow start, but it improved. ★★★

3.5★/5 06.13.2026

Solid prog rock and this is the first time I've had an opportunity to sit down and listen to Yes.

Interesting, but I think it's the kind of album you have to listen to several times to completely capture the concept. Maybe with more time I'd like it more.

I don’t think I have enough music smarts to understand what’s happening here

Correct spotify link is: https://open.spotify.com/album/1uXol4dKqzMsUiqvHpwhZh?si=JWVvC4KzQt6cxxomCGaTKA

12 minutes in, a refrain of “I get up, I get down” climaxes with a church organ dropping blazing mournfully and I’m amazed by authentically raw feeling. Then Yes repeat this a minute later, quartering the force, follow up with some UFO sounds and a trippy gallop that resolves into a concluding segment of hippy healing circle involving that now-cheesy refrain and I’m deflated and laughing at having been tricked. Yes is Yes.

Adventurous.

J'ai écouté cet album dans le train qui allait m'amener au Generator Hostel. Autant vous dire que j'en avais la boule au ventre et que je n'ai pas pu pleinement apprécier son contenu.

(2/5) This is the reason I hate prog rock. Soulless, intellectual rock. Just, ugh. I 'feel' my music and the best music makes me feel. I felt nothing but intense boredom during this album and I'm pretty sure that wasn't their intention. I'm sure there's a Wyatt album intentionally made to make me feel bored. I'm only giving it an extra star (2, instead of 1) because I recognize that the musicians were accomplished. They're just playing engineered crap.

Yes! No...still can't get into them. And this album has only 3 songs...

If Yes were the only prog music I had heard, I think I would hate prog. My esteemed colleague has observed before how fidgety this band are, all musical prodigies with severe ADHD. This album is probably the worst of the lot, so irritating to listen to: 18 minute songs, different every 2 minutes! Get a groove going, motherfuckers, please! The bonus cover of "America" is surely self-parody? I couldn't satirize their style any better. Jon Anderson's vocals really annoy me, with the exception of the incredible sample used in "Dark Fantasy". No.

No

3 songs and 37 minutes. I am not hopeful. I hate music critics. Prog rock is trash. All Yes songs sound the same. The number of rock songs that are both good and as long as Close to the Edge that are good can probably be counted on one hand. It would not make the list. And You and I is starting out better, but the futuristic synthesizer sounds are too much. I could definitely do without the harpsichord.

Just horrendous

No

1. cloze to the edge - 1 2. and you and i - 1 3. ziberian khatru - 1 4. america - 1 5. total mazz retain - 0 6. alternate and you and i - 1 7. ziberia run through - 0

Highly skilled but ultimately dull, egocentric, screeching drivel.

Still no

Y si yo dijera que Yes son la mejor banda de los 70 entonces qué

Probably one of the best albums of the list. One of my favorites at least.

I really only cared for 3 of the tracks on this album.

This one was on heavy rotation in college. I still don’t know the words but I can sing the harmonies and know all the music by heart. The link goes to the deluxe edition… screw that. Listen to the original 3 track album. It’s all you need.

In my youth, my mother's favorite album was 90125, and that cassette lived in the tape deck or CD player of every car she owned. Sure, I'd also heard Roundabout, I've Seen All Good People, and the host of their other radio plays, but it wasn't until later in life that I discovered THIS brand of Yes, and it's this one that I find myself more invested in and appreciate more and more the older I get. I've experienced the sonic storytelling and landscapes explored on this one dozens of times, and like rereading a book or rewatching a movie, I feel like I pick up on different details, nuance, and easter eggs every time I do. The musicianship is incredible (that organ in the title track ALWAYS sends me over the moon), the progressions and tempo shifts are inspired, and the subtleties are best enjoyed with headphones for a fuller, more robust experience. There's certainly no way I can gush over it this much without giving a 5/5, and will do the same when their other albums on this list have their turn.

191. Close To The Edge - Yes (1972) 9.1.26 Variety: 5 Adequacy: 5 Listenability: 4 Uniqueness: 5 Emotionality: 4 = 4.6 rounded up to a 5 "Now that it's all over and done/ Now that you find, now that you're whole" I generally like Yes. Fragile I think has long been my favorite of theirs, but every album I've listened to has been a rewarding experience in some form or another. This one I remember liking quite a bit. Eventually. The road there was a bit difficult though. The first time I listened to this I felt overwhelmed and confused how an album with such a glowing reputation couldn't have any super-catchy classic tracks on it. The whole idea of the album as one whole piece I don't think had stuck to my brain quite yet. But it was one ( much like Tarkus by ELP) that just got better with each listen. As I got more into progressive stuff I grew to appreciate the seemingly endless nooks and crannies, and learned to just vibe out and soak it in. The playing itself was also something I had to wrap my head around picking out and looking at, and mirrored how I eventually began to approach jazz. Let's see if this still holds up for me after a good decade without a listen. THE TRACKS Side One "Close to the Edge" I. "The Solid Time of Change" - We start with some serene nature sounds and then BOOM, we dive right into some complex, almost jazzy bit of facemeltery with everyone going buck wild and laying down the law. The DNA of this opening track can be felt in SOOOOO many albums reaching well into the future, with stops in the 70s ( Genesis, Rush, Gentle Giant), the 80s (Marillion, Dream Theater), the 90s ( Opeth, Don Caballero), the 2000's (Wobbler, the Mars Volta), the 2010s ( Haken, King Gizzard & the Lizard Wizard), right up til now (Black Midi). The massive influence alone would be enough reason for this album's inclusion on the list, but it also fucking slaps, as evidenced by this track. It settles down into a slightly more traditional form around halfway, and gets into a real groove by the time the vocals come in. Jon Anderson's voice isn't for everyone, but it's so relaxed and suits the spacey, cosmic vibe so well. This is top tier 70s prog, guys. and it's so much more user-friendly than a lot that comes in its wake. Not to mention a lot less prickly than the band's evil twin - King Crimson ( who is also great), so if you don't care much for this, I'm not sure there's much for you in the genre. II. "Total Mass Retain" - We roll right into the next movement with some GIGANTIC bass driven bit of word salad that feels both funkier and more subdued than the previous one, and we transition into ... III. "I Get Up, I Get Down" - ... a blissful, oceanic deep dive, with the harsh bright light of the sun retreating above us until we're floating, untethered by gravity and any cares which might have been holding us steady. The vocals come in with a reassuring Beach Boys-ish harmony, and serves as a slightly disconcerting lullaby before ascending into a scary bit of awesome ( as in full of awe) medieval church organ before one of Wakeman's huge, teeth shaking synths hooks us and rapidly pulls us up where we break through the surface to the ... IV. "Seasons of Man" ... utter chaos of the final movement of side one, all panicked speed drumming and confused keyboards. Turns out we're in good hands though. After flopping around on the bottom of their boat, gasping for air for a bit, the band reaches out with a welcome and reassuring hand, regaling you with some more cosmically soothing gospel, and ending by placing you back on the shores of the peaceful, tropical grotto where you started. Side two "And You and I" I. "Cord of Life" - Side Two starts much more traditionally, with some acoustic guitar noodling, and a bit of studio chatter. A very pretty number follows, and feels a lot more folky, even with the Moog (?) line added over top. Bruford's Gargantuan bass drum feels like the heartbeat of some giant being. Before the end, all teh pieces come together for a brief glimpse into the remaining tracks before falling briefly back to the acoustic before, this time, jumping free from the gravity well, blinded by the... II. "Eclipse" ...and sailing off through the atmosphere and into the stars on a rainbow made of mellotron notes and some haunty folky guitar work in... III. "The Preacher, the Teacher" ... where Anderson seems to be singing about some sort of evolution of self or realization, the trippy synths taking us on a guided trip through outer(inner?)space. Things become plodding and ponderous near the end, just before... IV. "The Apocalypse" ... which ends up being anything but the chaotic, doom-laden mess, but maybe looks back to the original meaning of the word as a sense of unveiling or revelation, ending instead on beautiful, peaceful Arcadian note instead. "Siberian Khatru" - This whole thing feels like the closing credits music for the big cosmic nature documentary you just watched, where the band gets to just jam out. We get some more fat funky bass and noodly jazzy organ, some great harmonies, and even get to dip into both some Indian raga and some classical baroque harpsichord sections. And all without feeling like an anarchic mish mash. An awesome coda for a very engrossing, and attention grabbing album. HIGHLIGHTS - Everything MIDLIGHTS - LOWLIGHTS - FINAL THOUGHTS I think you could choose to listen to this as a total vibe out, background piece or a totally immersive thing where you actively soak in ever moment, and it would be just as rewarding either way. The lack of any short, very hooky melodic bits is not a disadvantage on this one. You might not be able to hum much of it, bit it fills the space in much the same way that a great classical or jazz piece does. I know progressive rock already has this reputation as a classical inspired genre full of pretention, and needless complexity, but I don't think this one ( and much of Yes's catalogue) is necessarily intimidating or unwelcomingly complex. Instead, it's taking all of that stuff and funneling it into a very pleasing, sculpted form. Of all the major prog acts of the period, I think Yes are one of the most accessible. Rush has them beat hands down in that regard, but they are still up there, and maybe serve as the middle ground between the two extremes even. If you like Rush, and don't mind the more esoteric stuff like 2112 that goes a step beyond the radio hits, then check out Yes. PLAYLIST ALTERATIONS - Nope FURTHER LISTENING - Tales from Topographic Oceans by Yes - Selling England by the Pound by Genesis - Free Hand by Gentle Giant ‧ - 2112 by Rush - Script for a Jester's Tear by Marillion - Images and Words by Dream Theater - American Do by Don Caballero - De-Loused in the Comatorium by The Mars Volta - Blackwater Park by Opeth - From Silence to Somewhere by Wobbler - The Mountain by Haken - Polygondwanaland by King Gizzard & the Lizard Wizard - Cavalcade by Black Midi

Peak

The first Yes record I listened to and probably still my favourite after all these years, and a genuinely incredible prog-rock album that fires on all cylinders for its entire 38-minute runtime; there is no filler here. Maybe the best thing about Yes, and this album, is its insane ability to balance that typical early '70s prog jerk-offery with genuinely earwormy vocal hooks and digestible harmonies, licks, riffs, and basslines. Something a band like Rush also managed to do quite well. The monster opener title track, for example, has a twisted, more traditional free-jazz proggy piece opening it up, then a large, cascading, ambient, and always (reliably) gorgeous but ominous organ and string part near the middle, with some summery, warm harmonies. But those more "out-there" sections are broken up by this really catchy and sort of poppy chorus and verse segment, with an outro that brings it all back for one unforgettable finale. It mirrors a lot of the rock opera and glam rock of its time in some ways. I remember I would, many times, just skip to that coda part, the "I get uuuup, I get dooowwwn" part specifically...super nostalgic and an absolute tear-jerking finale. And that final groove with the organ soloing is just so tight. What an incredible journey this title track always is; it's been a while since I've listened to it all the way through, but god it's still as good as ever. While the album peaks at that coda of the title track, in my opinion, the other two songs here are nothing short of incredible. 'And You And I' is another undeniably catchy track, with a sort of Celtic feel to it near the beginning. It's a plucky guitar love ballad at its core that goes through all these dramatic shifts. And, just like the opener, it showcases Jon Anderson's really passionate and expressive leads very well. And while I do think the vocals are the star of this album in a lot of ways, it's really that string melody and iconic crunchy Yes bass tone that make the song 'Siberian Khatru' - I'm talking about the bit bookending the track. I hate to use the word, but it's the definition of epic, just absolutely driving, and oddly danceable, and I love that they bring it back one final time before the album ends. And the string of solos starting at the 3-minute mark of this song are also just back-to-back album highlights. Just some more essential early prog-rock, much easier to throw on when compared to a lot of its contemporaries. And it just throws so much at you in such a short amount of time, definitely getting the bang for your auditory buck here. And it all sounds incredible.

I've listened to Yes most of my life, but missed this album along the way. I certainly know the songs on "side 2," but it's been a while. It was nice to get a chance to give this album more attention. Not shockingly, I really liked Close To The Edge! Liked Songs Added: And You And I Siberia Khatru

Everything has already been said about this album. Imagine this rock album having a jazzy aesthetic, but it's not really a rock album but a poem instead. And then everything gets elevated by Jon Anderson's wonderful and unique voice. There's so much going on that you can feel as if you've lived an entire life through this album.

So inspiring and epic lp. Great thing.

yesssssssssss. and finally more prog. certainly one of the greatest albums. toss up between this, fragile, and relayer most days for me. seen them many times, with multiple lineups. met jon and rick. very nice guys.

Easily their best album and a cornerstone of the prog rock genre. Even if I don't care too much about this band anymore, "Siberian Khatru" is still one of my favorite songs ever just for all the cool basslines. 9.5/10.

This album feels very grand alike. The variety of instruments, and it really goes out of its way to create a feeling of awe. I think that the different parts to each song really add a lot and it doesn't even feel like it's overstaying as welcome. I actually wish there were more songs on this album. I think everything just feels like it's consistently moving. I don't feel like any point I was getting bogged down by the length. It just really understands how to pace itself. I mean, come on, how can you not like the sitar solo into the harpsichord solo, that just sealed the deal for me. I Actually really wasn't a huge fan of the other yes album on this list, but this one really works for me. Great Vibes. I did get jump scared by a special edition of this album I came across initially when going to listen, which was almost 5 hours long. That's insane. Fav Track: Close To The Edge

Master!

Early YES was a good listen before they got really outwardly spacey. Even still they show an incredible mastery of musicianship and it is quite a nice listen that does border on really awesome progressive music.

Maybe the best prog-rock album ever made

I have never been a fan of prog, until I started this 1001 experiment and it has really grown on me and it started with this album. Holy shite, I heard it and listened over and over, went and bought a vinyl copy I dug it so much. The complexity and beauty are awesome.