Close to the edge
As compared to other predominant figures in the progressive rock scene, Jon Anderson and his band Yes had, arguably, the heaviest influence from western classical music. This was best seen in the album (and title track) “Close to the edge,” the recording that brought Yes toward the pinnacle of progressive rock. While the intricated sonata form and the whole 18 minutes length carried the elegance of classical music, they also render the song forbidding and hard to get into for someone who just want something to vibe and relax to. Yet, the insight one can gain from a deep listen is immense.
Jon Anderson’s witty lyricism was often critiqued to be intentionally profound, emotionally affected and detached from any real-world implications. It was confusing to me at first, but became more appreciable after I’ve learned about the concept of panentheism that all knowledge and experience must be valued, and all explanations are plausible, the philosophical roots of Anderson’s lyricism. As such, he created a kaleidoscopic play of meanings that evoke flashes of unique understanding rather than denotative statements. I found myself to be obsessed with lines such as “Then according to the man … He turned around and pointed, revealing all human race.” The only problem was that when the song was played, these lines were sung so quick that the exact words blend in with the music, becoming barely discernable - one would rarely be thinking about what these lyrics imply just by listening to it.
Various instruments made their presence in“Close to the Edge.” the band members completely nailed it in how these instruments sound together. Even the vocals of Anderson could be considered as an instrument that reverberate with everything else. As the Los Angeles Times mentioned at one time the word “you” blend in perfectly with the pitch of the Moog. The sound of instruments also progresses throughout the track, the electric guitar in movement I from rapid and chaotic to slow and somber, the organ instrument in movement III and IV from soft adornments into the deafening cadenza where it took the lead. These shifts are all in line with the underlying theme of “change” in the song.
The Los Angeles Times and Rolling Stones were two renowned magazines that have reviewed “Close to the Edge” shortly after its release. I would talk about my opinion on each of them briefly.
The Los Angeles Times review gave a general overview on the basics of the album, then focus much of its attention on analyzing the lyrics, and how they resonate with the flow of music. The perspective about the purposeful placements of alliteration and vowels was quite an interesting take. In “Tales of Change Within the sound,” an article on Yes, Rycenga also mentioned that Anderson chose words for their sonic value, not for coherence in grammar and logic.
The review by Rolling Stones was much lengthier and more detailed. It surprised me a bit, since the writing style differed a lot from their review on King Crimson, which, in my opinion, wasn’t quite on point with what makes the album “stood out.” The review on “Close to the Edge” however, pinpointed many characteristics of this album precisely. I totally agree with its opinion that the best lyricism of Yes are brief phrases that add a dimension to the music’s mood. The example the author gave, the recurring “I get up, I get down” was also my favorite part of the track, where I would get all emotional charged. The analogy that the author made with Chinese painting was also very impressive. Growing up in China, I have seen many Chinese landscape paintings in museums, and I could vividly picture it when the author noted that colors were “subtle tints,” while the main strokes were “bold and thick.”
Reference List
Cromelin, Richard. Review of Yes' liquid landscape: a heady mix of primordial past & glistening future: Close to the Edge, Rolling Stone; New York, no. 121, 9 Nov. 1972, pp. 60–60.
Atkinson, Terry. Review of YES: CLOSER TO THE EDGE, Los Angeles Times (1923-1995); Los Angeles, Calif., 19 Nov. 1972, pp. 68–68.
