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close to the EDG is the fifth studio
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album by English progressive rock band
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Yes it was released in September
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1972 by Atlantic Records yes at that
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time consective lead vocalist John
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Anderson basist Chris Squire drummer
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Bill bruford guitarist Steve how and
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keyboardist Rick Wakeman their previous
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album fragile was a commercial and
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critical success and became their
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biggest hit at the time reaching the
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number four spot in the US Billboard
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charts due in part to the strong rocking
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single called roundabout which gained
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considerable AirPlay roundabout did not
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have the song structure of what might be
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considered to be a commercially
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successful song yet it still succeeded
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earlier in March
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1972 yes wrapped up their six-month
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fragile tour of the UK and North America
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and following this the band booked some
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time at ad Vision studios in London to
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put down some rough tracks for a
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follow-up record although some
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arrangements were worked out and put
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onto tape at the time none of the tracks
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were fully developed the band then began
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more focused rehearsals at the uni
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Billings School of Dance in Shepherd's
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bush in May
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1972 to refine material for the new
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album by June of that year yes felt that
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they had developed songs for the new
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album sufficiently well enough and
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returned to ad Vision to begin the
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recording phase Eddie offer who had
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worked with yes since the time in the
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word album was assigned as the audio
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engine ER and
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co-producer close to the
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edge Anderson said the band had just
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done a huge tour for fragile and we were
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quite pleased at how the audiences were
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loving the longer pieces that we play
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Live roundabout was 8 minutes long
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Starship Trooper was nine and heart of
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the sunrise was over 11 minutes we were
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feeling very powerful like we could do
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anything
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and also being a lover of classical
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music Anderson was listening to calus's
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Fifth Symphony at this time and said
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that the long symphonic piece consisting
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of several movements was an influence in
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the writing of the new Grand and
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ambitious title track and while touring
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for the fragile album Anderson was
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reading a novel called sidarthur written
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by German novelist Herman hes in which
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the main character named sidarthur
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undertook a lifelong spiritual journey
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of
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self-discovery after a lifetime of
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experiences sidarthur eventually found
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wisdom his own personal meaning and true
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spiritual enlightenment Anderson decided
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to Loosely draw upon the conceptual
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theme of Enlightenment and
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self-discovery from the novel in his
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lyrical writings for the for movement
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piece close to the edge and more
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drawings from novels relating to the
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theme of Enlightenment were to follow of
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course the song which developed
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consisted the four movements which took
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up all the space on side
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one the solid time of
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change in the book The River helps sarur
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find the path to Enlightenment Anderson
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said the river leads you to the ocean
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all the paths lead you to the Divine so
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the idea was that as human beings we are
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close to the edge the edge of
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realization Steve how said one of my
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songs at the time had the line close to
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the edge down by a river which actually
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referred to where I was living next to
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the river temps in the introduction we
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hear a combination of keyboards like
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percussion bird singing and water
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flowing to represent the natural and
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spiritual environment of the river and
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its surroundings as described in the
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novel of sidarthur in the story The
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River gives life as all living things
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depend on water I'm going to show some
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footage from the yes songs film in this
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video which as you may recall doesn't
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have great audio quality I've therefore
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decided to use a better quality audio
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from the yes songs album and have tried
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to manually sync both the video and
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audio to create a new composite as the
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two parts are from different
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performances there are a few minor
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synchronization issues but it's the best
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I do and if you're familiar with the
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film yes songs you will recall the
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imagery of microscopic Aquatic Life
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forms which appeared during this song to
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illustrate that the river is in fact
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teeming with life early in the book
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sidarthur rejects the spiritual world
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and enters the material world and for a
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while he leads a rich life of sin in the
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city after some time however he realizes
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he has led a life which is not
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fulfilling and one which will not lead
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to True Enlightenment he then visits the
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river with a great sense of guilt with
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the intention of drowning himself in the
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song these thoughts coincide with the
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cacophony of poly tile and poly rhythmic
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chaos this section developed following a
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suggestion from Anderson for the band to
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play an improvised chaotic Jam in this
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Furious change we hear a roar sounding
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and frenetic guitar lead by Steve how in
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a d harmonic minor scale initially a
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slow ascending Baseline by Chris Squire
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some aggressive percussion work by
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bruford and a rapidly ascending keyboard
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riff by Rick Wakeman
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[Music]
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[Music]
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[Applause]
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[Music]
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[Applause]
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sidara has been told that he will hear
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many Sounds by the river he stands on
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the River Bank stares into the water
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closes his eyes and intends to slip
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towards death but suddenly hears a
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sacred sound which is a Sonic
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representation of the Divine the sacred
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syllable awakens his spirit makes him
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realize the foolishness of his actions
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and compels him to retreat to
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Safety in the novel The Sound om is
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heard but in the song we hear the
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syllable followed by
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[Music]
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[Music]
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[Applause]
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[Music]
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[Applause]
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[Music]
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[Music]
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and
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[Music]
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[Applause]
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[Music]
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[Applause]
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[Music]
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d
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[Applause]
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[Music]
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[Applause]
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[Music]
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n
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[Applause]
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[Music]
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[Applause]
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[Music]
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[Applause]
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[Music]
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[Applause]
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[Music]
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[Applause]
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[Music]
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[Applause]
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[Music]
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[Music]
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Seas the of your disce re your to
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the
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all ch
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against
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[Music]
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the mus of theong take
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away away my Bri away close to the edge
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my
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not right away not right
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[Applause]
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[Music]
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[Applause]
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[Music]
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away line around the changes of the
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Sumer reaching out to call the color of
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the
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sky down a
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moment morning faster than we
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see getting over all the time I had to
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wear it leaving all the
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changes
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behind find
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[Music]
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out down theend by the corner
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close to the edge just like
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real
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SE I get
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up I get
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down now it's all
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[Music]
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over total mass retain Anderson said the
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following about this section we've laid
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the foundation of where we're going to
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go and now we're into the second part
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this is about the relaxation of life and
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being close to the edge of realization
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of our Universal experiences that's what
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the song is starting to explain
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everything will come to you the idea is
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that life is an ongoing journey and you
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have to enjoy it this is the shortest of
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four sections of close to the edge
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lasting just over 2 minutes and it
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begins with an astonishing rhythmic
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Groove featuring Squire and bruford in a
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syncopated 44 time signature
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[Music]
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[Music]
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my
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[Music]
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eyes the
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for to see the m to close to Over the
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Sea the S
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[Music]
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toose by river close to the edge by the
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[Music]
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[Applause]
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corner the
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[Music]
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some take away the St
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memory the journey takes you all the way
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[Music]
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the come
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my the
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side to side we he the M
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rain the
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[Music]
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end I get
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up I get
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[Music]
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n
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[Music]
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[Applause]
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[Music]
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that
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[Music]
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I get up I get
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down this is the most beautiful of the
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four movements which is exceedingly
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expressive and superbly arranged it
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opens with dreamy ambient melron strings
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and a sitar played by how which both
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soon fade drips of water can also be
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heard suggesting the natural setting of
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a
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cave Anderson said I'm a big fan of the
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Beach Boys and the association Steve and
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I were working on this and at one point
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he said I have this other song and I
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said well start singing it and he
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[Music]
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went theame for
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theci of
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[Music]
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when I heard that I said wait that's
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going to be perfect you start singing
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that with Chris and then I'll sing my
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part we'll have an answer back thing
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[Music]
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oh
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[Music]
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you could clearly see the Ling
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[Music]
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people
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stisi 200 women watch one woman
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cry toate
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[Music]
297
00:21:04,000 --> 00:21:06,200
I
298
00:21:06,200 --> 00:21:09,480
get I get
299
00:21:09,480 --> 00:21:12,679
down I get
300
00:21:12,679 --> 00:21:16,279
up I get
301
00:21:17,360 --> 00:21:23,110
down charge of who is there charge of
302
00:21:23,110 --> 00:21:26,450
[Music]
303
00:21:26,559 --> 00:21:30,520
meind I
304
00:21:34,360 --> 00:21:38,159
truth is written
305
00:21:39,240 --> 00:21:42,159
[Music]
306
00:21:42,159 --> 00:21:43,220
all
307
00:21:43,220 --> 00:21:51,799
[Music]
308
00:21:51,799 --> 00:21:54,679
I get
309
00:21:54,679 --> 00:21:58,960
down I get
310
00:21:58,960 --> 00:22:01,600
I get
311
00:22:01,600 --> 00:22:03,760
down get
312
00:22:03,760 --> 00:22:05,080
[Music]
313
00:22:05,080 --> 00:22:09,400
up get down
314
00:22:09,850 --> 00:22:14,299
[Music]
315
00:22:22,270 --> 00:22:44,400
[Music]
316
00:22:44,400 --> 00:22:46,760
get
317
00:22:46,880 --> 00:22:50,279
up get
318
00:22:50,360 --> 00:22:53,480
down get
319
00:22:53,480 --> 00:22:58,200
up I get down
320
00:22:58,600 --> 00:23:00,690
oh
321
00:23:00,690 --> 00:23:20,210
[Music]
322
00:23:20,210 --> 00:23:23,349
[Applause]
323
00:23:26,890 --> 00:23:53,739
[Music]
324
00:23:53,799 --> 00:23:56,799
w
325
00:24:03,930 --> 00:24:08,320
[Music]
326
00:24:08,320 --> 00:24:11,279
seasons of
327
00:24:11,640 --> 00:24:14,320
man musically the peace builds to a
328
00:24:14,320 --> 00:24:16,559
final chorus and then Fades to the
329
00:24:16,559 --> 00:24:18,559
sounds of nature as heard in the
330
00:24:18,559 --> 00:24:21,679
beginning so the song ends the same way
331
00:24:21,679 --> 00:24:24,240
as it began as we hear the sounds of
332
00:24:24,240 --> 00:24:27,120
birds and water running in a river and
333
00:24:27,120 --> 00:24:29,120
by the end of the conclusion section
334
00:24:29,120 --> 00:24:32,320
seasons of man sidarthur has found the
335
00:24:32,320 --> 00:24:34,240
knowledge and the enlightenment that he
336
00:24:34,240 --> 00:24:37,720
sought as we hear lyrics such as
337
00:24:37,720 --> 00:24:42,910
[Music]
338
00:24:44,930 --> 00:24:54,479
[Music]
339
00:24:57,260 --> 00:25:00,349
[Music]
340
00:25:00,600 --> 00:25:03,570
get
341
00:25:03,570 --> 00:25:10,130
[Music]
342
00:25:12,420 --> 00:25:18,520
[Music]
343
00:25:18,520 --> 00:25:21,360
[Applause]
344
00:25:21,360 --> 00:25:25,690
[Music]
345
00:25:27,850 --> 00:25:30,940
[Music]
346
00:25:40,810 --> 00:25:45,450
[Music]
347
00:25:46,720 --> 00:25:49,720
w
348
00:25:50,980 --> 00:25:53,690
[Applause]
349
00:25:53,690 --> 00:25:56,869
[Music]
350
00:25:58,799 --> 00:26:01,799
oh
351
00:26:03,090 --> 00:26:06,240
[Music]
352
00:26:10,290 --> 00:26:23,019
[Music]
353
00:26:25,220 --> 00:26:33,470
[Music]
354
00:26:41,690 --> 00:26:42,530
[Music]
355
00:26:42,530 --> 00:26:45,790
[Applause]
356
00:26:45,790 --> 00:26:50,039
[Music]
357
00:26:50,039 --> 00:26:51,799
the time
358
00:26:51,799 --> 00:26:55,320
between to the
359
00:26:56,520 --> 00:27:00,399
scate seems space between the
360
00:27:00,399 --> 00:27:03,240
Fus of
361
00:27:03,240 --> 00:27:06,760
Love Time
362
00:27:07,150 --> 00:27:09,520
[Applause]
363
00:27:09,520 --> 00:27:12,200
[Music]
364
00:27:12,200 --> 00:27:15,399
soci party to the
365
00:27:15,399 --> 00:27:16,919
man
366
00:27:16,919 --> 00:27:19,919
SP
367
00:27:20,919 --> 00:27:22,990
around my
368
00:27:22,990 --> 00:27:29,640
[Music]
369
00:27:29,640 --> 00:27:33,279
on the hill we Bu The Silence of
370
00:27:33,279 --> 00:27:36,559
the to
371
00:27:37,679 --> 00:27:43,720
winess we reach our mement in between
372
00:27:43,720 --> 00:27:48,640
the close to the edge
373
00:27:48,960 --> 00:27:53,720
by down at the End
374
00:27:54,120 --> 00:27:56,610
by J
375
00:27:56,610 --> 00:27:59,519
[Music]
376
00:27:59,519 --> 00:28:06,519
fall go to the Sea right to the you
377
00:28:07,010 --> 00:28:07,500
[Music]
378
00:28:07,500 --> 00:28:17,880
[Applause]
379
00:28:17,880 --> 00:28:18,400
[Music]
380
00:28:18,400 --> 00:28:20,100
[Applause]
381
00:28:20,100 --> 00:28:21,290
[Music]
382
00:28:21,290 --> 00:28:24,599
[Applause]
383
00:28:30,600 --> 00:28:34,109
[Applause]
384
00:28:35,510 --> 00:28:39,410
[Music]
385
00:28:43,610 --> 00:28:49,809
[Music]
386
00:28:52,120 --> 00:28:54,480
let's also have a look at a manuscript
387
00:28:54,480 --> 00:28:56,080
which shows some of the many time
388
00:28:56,080 --> 00:28:58,640
signature changes in this section which
389
00:28:58,640 --> 00:29:03,159
he may not have been aware of
390
00:29:03,190 --> 00:29:30,600
[Music]
391
00:29:30,600 --> 00:29:34,320
BL you I
392
00:29:34,320 --> 00:29:38,170
get I get
393
00:29:38,170 --> 00:29:58,390
[Music]
394
00:30:01,440 --> 00:30:03,960
side two of the vinyl LP begins with the
395
00:30:03,960 --> 00:30:07,480
song and you and I which originated as a
396
00:30:07,480 --> 00:30:09,880
a more folk orientated Song in four
397
00:30:09,880 --> 00:30:12,440
sections its style and themes were
398
00:30:12,440 --> 00:30:15,320
worked on by how bruford and Squire and
399
00:30:15,320 --> 00:30:17,760
is the only track on the album which
400
00:30:17,760 --> 00:30:21,080
credits bruford and Squire as
401
00:30:21,080 --> 00:30:23,799
writers cord of
402
00:30:23,799 --> 00:30:26,360
Life Anderson wrote the lyrics in this
403
00:30:26,360 --> 00:30:28,480
song to represent a meeting with the
404
00:30:28,480 --> 00:30:32,120
Divine so you and I refers to the Divine
405
00:30:32,120 --> 00:30:35,360
and I Anderson said he preferred the
406
00:30:35,360 --> 00:30:39,720
sound of and you and I to just you and I
407
00:30:39,720 --> 00:30:42,440
so this is what we hear again we have
408
00:30:42,440 --> 00:30:44,640
four movements and the song opens with
409
00:30:44,640 --> 00:30:47,159
the court of life section beginning with
410
00:30:47,159 --> 00:30:50,159
an okay from Steve how after which he
411
00:30:50,159 --> 00:30:52,559
placed some harmonics on his 12 string
412
00:30:52,559 --> 00:30:55,440
acoustic guitar this moment was not
413
00:30:55,440 --> 00:30:58,200
originally part of the song but offered
414
00:30:58,200 --> 00:31:00,440
liked it and persuaded the band to keep
415
00:31:00,440 --> 00:31:03,720
it in after this mini intro how settles
416
00:31:03,720 --> 00:31:06,399
into a more defined pattern featuring
417
00:31:06,399 --> 00:31:09,080
slow and bright guitar
418
00:31:09,080 --> 00:31:11,159
notes
419
00:31:11,159 --> 00:31:14,910
run okay
420
00:31:14,910 --> 00:31:27,759
[Music]
421
00:31:32,300 --> 00:31:41,400
[Music]
422
00:31:45,920 --> 00:31:49,049
[Music]
423
00:31:51,250 --> 00:32:02,760
[Music]
424
00:32:02,760 --> 00:32:05,039
Squire then adds a few thumping low
425
00:32:05,039 --> 00:32:08,279
dnotes in time with bruford's Kick Drum
426
00:32:08,279 --> 00:32:10,679
followed by the tinkle of a triangle
427
00:32:10,679 --> 00:32:13,639
queing how to introduce the first verse
428
00:32:13,639 --> 00:32:16,919
in 3 four time with a simple pattern of
429
00:32:16,919 --> 00:32:20,840
d g and a major chords this is soon
430
00:32:20,840 --> 00:32:22,840
complemented by Wakeman playing a
431
00:32:22,840 --> 00:32:27,180
pleasant Melody on the mini Moog
432
00:32:27,180 --> 00:32:34,920
[Music]
433
00:32:34,920 --> 00:32:35,740
[Applause]
434
00:32:35,740 --> 00:32:39,310
[Music]
435
00:32:39,310 --> 00:32:39,440
[Applause]
436
00:32:39,440 --> 00:32:41,040
[Music]
437
00:32:41,040 --> 00:32:41,260
[Applause]
438
00:32:41,260 --> 00:32:43,400
[Music]
439
00:32:43,400 --> 00:32:45,890
[Applause]
440
00:32:45,890 --> 00:32:47,820
[Music]
441
00:32:47,820 --> 00:32:48,360
[Applause]
442
00:32:48,360 --> 00:32:50,919
[Music]
443
00:32:50,919 --> 00:32:55,039
a man see the moment answers to the
444
00:32:55,039 --> 00:32:57,140
dream
445
00:32:57,140 --> 00:32:57,960
[Music]
446
00:32:57,960 --> 00:33:00,240
[Applause]
447
00:33:00,240 --> 00:33:06,240
stay in the flowers da sing all
448
00:33:08,000 --> 00:33:12,630
the as a foundation left to create the
449
00:33:12,630 --> 00:33:13,220
[Applause]
450
00:33:13,220 --> 00:33:16,980
[Music]
451
00:33:16,980 --> 00:33:18,540
[Applause]
452
00:33:18,540 --> 00:33:22,360
[Music]
453
00:33:22,360 --> 00:33:26,360
spiral with
454
00:33:28,960 --> 00:33:34,919
CH Forest sight the sound the space
455
00:33:35,480 --> 00:33:37,240
[Applause]
456
00:33:37,240 --> 00:33:39,960
GRE between
457
00:33:39,960 --> 00:33:42,490
thect behind the face
458
00:33:42,490 --> 00:33:45,619
[Applause]
459
00:33:45,720 --> 00:33:49,200
of coming quickly to terms of all
460
00:33:49,200 --> 00:33:50,880
expression
461
00:33:50,880 --> 00:33:54,040
L emotion revealed is the
462
00:33:54,040 --> 00:33:56,080
[Music]
463
00:33:56,080 --> 00:33:59,720
ocean oh
464
00:34:00,279 --> 00:34:03,639
she with
465
00:34:04,200 --> 00:34:07,200
you
466
00:34:14,210 --> 00:34:17,369
[Music]
467
00:34:22,520 --> 00:34:28,240
ohes tell you watching the world
468
00:34:28,240 --> 00:34:29,480
all
469
00:34:29,480 --> 00:34:34,000
of what you
470
00:34:36,960 --> 00:34:40,720
for and you
471
00:34:40,920 --> 00:34:43,919
[Music]
472
00:34:43,919 --> 00:34:48,679
and and you and we for
473
00:34:48,679 --> 00:34:52,679
reasons to
474
00:35:05,040 --> 00:35:07,560
eclipse in this section we hear how
475
00:35:07,560 --> 00:35:10,000
playing a pedal steel guitar with
476
00:35:10,000 --> 00:35:12,839
Distortion and a heavy delay creating a
477
00:35:12,839 --> 00:35:15,920
swooping swooning effect which colors
478
00:35:15,920 --> 00:35:18,200
the passage with what feels like
479
00:35:18,200 --> 00:35:21,720
emotional highs and lows Anderson then
480
00:35:21,720 --> 00:35:24,160
sings a passion loaded vocal based on
481
00:35:24,160 --> 00:35:27,359
the chord pattern in the verse this time
482
00:35:27,359 --> 00:35:30,119
in a higher register he ends his
483
00:35:30,119 --> 00:35:32,680
performance in a thrilling fashion
484
00:35:32,680 --> 00:35:35,119
Wakeman then takes over with a grand
485
00:35:35,119 --> 00:35:37,800
return to the main theme gently giving
486
00:35:37,800 --> 00:35:40,480
way to how who repeats the opening of
487
00:35:40,480 --> 00:35:43,520
peggos that now serve as the transition
488
00:35:43,520 --> 00:35:46,390
to the third movement
489
00:35:46,390 --> 00:35:56,210
[Music]
490
00:35:58,720 --> 00:36:01,720
oh
491
00:36:10,860 --> 00:36:27,800
[Music]
492
00:36:27,800 --> 00:36:30,800
oh
493
00:36:32,310 --> 00:36:35,500
[Music]
494
00:36:38,180 --> 00:36:46,409
[Music]
495
00:36:49,780 --> 00:37:23,240
[Music]
496
00:37:23,240 --> 00:37:27,890
expression moce is the ocean
497
00:37:27,890 --> 00:37:39,839
[Music]
498
00:37:39,839 --> 00:37:44,640
of life with you
499
00:37:47,870 --> 00:38:02,530
[Music]
500
00:38:02,530 --> 00:38:03,170
[Applause]
501
00:38:03,170 --> 00:38:18,030
[Music]
502
00:38:18,760 --> 00:38:22,079
the preacher the
503
00:38:22,920 --> 00:38:25,800
teacher Anderson said it goes to a
504
00:38:25,800 --> 00:38:28,119
completely different song and Fe
505
00:38:28,119 --> 00:38:30,680
Steve is a magical guitar player and he
506
00:38:30,680 --> 00:38:33,599
could switch to a new style so easily I
507
00:38:33,599 --> 00:38:35,200
said to him it's got to have a real
508
00:38:35,200 --> 00:38:38,040
country feel to it he knew just what to
509
00:38:38,040 --> 00:38:42,640
do the section ends up with the
510
00:38:43,680 --> 00:38:46,680
words
511
00:38:47,270 --> 00:38:49,400
[Music]
512
00:38:49,400 --> 00:38:51,079
expression
513
00:38:51,079 --> 00:38:55,220
the emotion r as the ocean
514
00:38:55,220 --> 00:38:58,280
[Music]
515
00:38:58,280 --> 00:39:02,720
a clear up good J morning evening nights
516
00:39:02,720 --> 00:39:06,040
with you
517
00:39:08,370 --> 00:39:37,180
[Music]
518
00:39:37,180 --> 00:39:40,270
[Applause]
519
00:39:44,960 --> 00:39:59,389
[Music]
520
00:40:00,000 --> 00:40:05,040
Prat upon the color
521
00:40:10,200 --> 00:40:12,070
ofed of
522
00:40:12,070 --> 00:40:14,800
[Music]
523
00:40:14,800 --> 00:40:19,359
the there be noy we shall
524
00:40:19,359 --> 00:40:24,160
certify political s remain will
525
00:40:24,160 --> 00:40:30,440
die Reach Out T forward taste begin to
526
00:40:30,440 --> 00:40:36,179
[Music]
527
00:40:37,520 --> 00:40:41,960
enter I listen hard but could not
528
00:40:41,960 --> 00:40:46,480
see like temp change
529
00:40:46,480 --> 00:40:51,560
out the preach all
530
00:40:51,760 --> 00:40:59,240
to tr to be show the in the end be with
531
00:41:00,040 --> 00:41:01,480
the
532
00:41:01,480 --> 00:41:03,690
truth in his
533
00:41:03,690 --> 00:41:05,599
[Music]
534
00:41:05,599 --> 00:41:09,599
eyes the
535
00:41:10,580 --> 00:41:14,940
[Music]
536
00:41:14,940 --> 00:41:18,150
[Applause]
537
00:41:21,480 --> 00:41:21,750
[Applause]
538
00:41:21,750 --> 00:41:23,160
[Music]
539
00:41:23,160 --> 00:41:25,650
[Applause]
540
00:41:25,650 --> 00:41:28,889
[Music]
541
00:41:37,040 --> 00:41:40,400
turn to
542
00:41:43,150 --> 00:41:50,760
[Music]
543
00:41:50,760 --> 00:41:54,560
expression aare
544
00:41:54,720 --> 00:41:58,079
of Lights with you
545
00:41:58,079 --> 00:42:01,079
oh
546
00:42:07,020 --> 00:42:13,640
[Music]
547
00:42:13,640 --> 00:42:16,780
[Applause]
548
00:42:21,070 --> 00:42:39,409
[Music]
549
00:42:41,530 --> 00:42:46,019
[Music]
550
00:42:46,520 --> 00:42:49,359
apocalypse this is a brief closing
551
00:42:49,359 --> 00:42:51,559
passage in which we hear the final verse
552
00:42:51,559 --> 00:42:54,079
sung to a slightly different Melody
553
00:42:54,079 --> 00:42:56,599
while how doubles on acoustic and Sly
554
00:42:56,599 --> 00:42:57,640
guitar
555
00:42:57,640 --> 00:42:59,760
it's a fitting ending that leaves us
556
00:42:59,760 --> 00:43:02,920
feeling warm and
557
00:43:05,400 --> 00:43:08,960
content and you and I CL crushing the
558
00:43:08,960 --> 00:43:11,839
ship of the
559
00:43:12,000 --> 00:43:17,319
morning and you and I climb over
560
00:43:18,640 --> 00:43:24,960
the and you and I clim clear towards the
561
00:43:25,280 --> 00:43:32,359
movement and you and I call over by the
562
00:43:36,550 --> 00:43:40,390
[Music]
563
00:43:40,390 --> 00:43:43,590
[Applause]
564
00:43:45,420 --> 00:43:52,540
[Music]
565
00:43:55,680 --> 00:43:59,830
[Music]
566
00:44:01,860 --> 00:44:23,949
[Music]
567
00:44:24,079 --> 00:44:27,440
Anderson said katru means as you wish in
568
00:44:27,440 --> 00:44:30,440
Yemen an Arabian dialect when we were
569
00:44:30,440 --> 00:44:32,599
working on it I kept singing the word
570
00:44:32,599 --> 00:44:35,160
over and over again even though I had no
571
00:44:35,160 --> 00:44:37,680
idea what it meant I asked somebody to
572
00:44:37,680 --> 00:44:39,880
look it up for me and when they told me
573
00:44:39,880 --> 00:44:43,079
the meaning it worked for the song the
574
00:44:43,079 --> 00:44:46,720
idea is that Siberia is so far away and
575
00:44:46,720 --> 00:44:49,319
it was like No Man's Land so the thought
576
00:44:49,319 --> 00:44:52,240
was that life still happens there as it
577
00:44:52,240 --> 00:44:54,720
does here in the song The Mysterious
578
00:44:54,720 --> 00:44:57,119
land mass is only mentioned in a single
579
00:44:57,119 --> 00:45:00,210
line and is only repeated
580
00:45:00,210 --> 00:45:13,200
[Music]
581
00:45:13,200 --> 00:45:16,240
once as for the other half of the title
582
00:45:16,240 --> 00:45:19,920
the word katru makes only one brief
583
00:45:19,920 --> 00:45:24,240
appearance green reveal the art spoken
584
00:45:24,240 --> 00:45:27,240
true
585
00:45:30,300 --> 00:45:33,240
[Music]
586
00:45:33,240 --> 00:45:35,559
so Iberian katru is pretty much a
587
00:45:35,559 --> 00:45:37,160
straightforward rock song which
588
00:45:37,160 --> 00:45:39,800
developed from an idea Anderson had on
589
00:45:39,800 --> 00:45:42,440
an acoustic guitar the song was often
590
00:45:42,440 --> 00:45:44,720
used as an opening number at concerts
591
00:45:44,720 --> 00:45:47,200
and at just over 9 Minutes in length
592
00:45:47,200 --> 00:45:50,000
Siberian katru seems like a short song
593
00:45:50,000 --> 00:45:53,040
on this album it also features a brief
594
00:45:53,040 --> 00:45:54,960
what might be initially considered to be
595
00:45:54,960 --> 00:45:58,200
a left of center bar sounding harsy cord
596
00:45:58,200 --> 00:46:00,880
solo from Wakeman at just over the 3
597
00:46:00,880 --> 00:46:03,760
minute Mark in what is a strong rocking
598
00:46:03,760 --> 00:46:08,300
track but it sounds just perfect
599
00:46:08,300 --> 00:46:26,620
[Music]
600
00:46:26,620 --> 00:46:27,100
[Applause]
601
00:46:27,100 --> 00:46:29,950
[Music]
602
00:46:29,950 --> 00:46:32,710
[Applause]
603
00:46:32,710 --> 00:47:10,839
[Music]
604
00:47:10,839 --> 00:47:12,920
I also really like the section in which
605
00:47:12,920 --> 00:47:15,640
we hear a return to the lyrics of blue
606
00:47:15,640 --> 00:47:19,640
tail tailly heard briefly earlier in the
607
00:47:19,640 --> 00:47:22,319
song it is based upon two chords which
608
00:47:22,319 --> 00:47:24,839
are a minor third apart which is an
609
00:47:24,839 --> 00:47:27,280
interval often used in film music to
610
00:47:27,280 --> 00:47:30,559
create a feeling of suspense Anderson
611
00:47:30,559 --> 00:47:33,280
adds a very simple Melody line over the
612
00:47:33,280 --> 00:47:36,319
progression to create what I think is a
613
00:47:36,319 --> 00:47:41,319
mesmerizing moment in the song
614
00:47:41,760 --> 00:47:51,400
[Music]
615
00:47:56,780 --> 00:48:02,160
[Music]
616
00:48:02,160 --> 00:48:04,440
cover
617
00:48:04,440 --> 00:48:09,359
Moon as one
618
00:48:12,359 --> 00:48:14,559
changes
619
00:48:14,559 --> 00:48:16,599
Soul
620
00:48:16,599 --> 00:48:18,559
m
621
00:48:18,559 --> 00:48:20,640
Christian
622
00:48:20,640 --> 00:48:26,640
changer hold our savior
623
00:48:27,900 --> 00:48:34,249
[Music]
624
00:48:41,800 --> 00:48:44,720
turn the song has interesting riffs
625
00:48:44,720 --> 00:48:47,119
themes Bridges and a section of vocal
626
00:48:47,119 --> 00:48:50,119
chants
627
00:48:51,090 --> 00:48:54,109
[Music]
628
00:48:56,650 --> 00:49:17,460
[Music]
629
00:49:18,319 --> 00:49:20,920
how plays two solos one after Rick
630
00:49:20,920 --> 00:49:23,240
Wakeman's Harps record solo on a steel
631
00:49:23,240 --> 00:49:26,359
lap guitar in the studio recording and
632
00:49:26,359 --> 00:49:28,720
the other at the end of the song in the
633
00:49:28,720 --> 00:49:31,720
latter how purposely played the closing
634
00:49:31,720 --> 00:49:34,280
solo without being able to hear what it
635
00:49:34,280 --> 00:49:37,160
sounded like as an experiment when the
636
00:49:37,160 --> 00:49:39,319
band listened to the playback they
637
00:49:39,319 --> 00:49:42,200
thought it was weird but suitably
638
00:49:42,200 --> 00:49:47,040
interesting and the solo was included
639
00:49:47,040 --> 00:50:09,590
[Music]
640
00:50:09,590 --> 00:50:11,990
[Applause]
641
00:50:11,990 --> 00:50:16,599
[Music]
642
00:50:22,000 --> 00:50:24,119
it is difficult to overstate the
643
00:50:24,119 --> 00:50:26,720
greatness of this album and its impact
644
00:50:26,720 --> 00:50:29,359
on the progressive rock community and I
645
00:50:29,359 --> 00:50:31,359
believe that all three songs are
646
00:50:31,359 --> 00:50:34,559
remarkably cohesive and hang together
647
00:50:34,559 --> 00:50:37,000
flawlessly Anderson and Hal were the
648
00:50:37,000 --> 00:50:39,040
main creative drivers for the direction
649
00:50:39,040 --> 00:50:41,720
the album was to take while Squire took
650
00:50:41,720 --> 00:50:43,839
a lead role in helping offered with the
651
00:50:43,839 --> 00:50:46,240
production yes could have continued with
652
00:50:46,240 --> 00:50:49,200
a successful formula which created The
653
00:50:49,200 --> 00:50:52,200
Fragile album but andison in particular
654
00:50:52,200 --> 00:50:54,440
wanted to keep things moving keep
655
00:50:54,440 --> 00:50:57,799
expanding and keep developing musically
656
00:50:57,799 --> 00:50:59,799
before long it became clear that the
657
00:50:59,799 --> 00:51:02,599
song close to the edge was going to be
658
00:51:02,599 --> 00:51:04,400
very different as the developing
659
00:51:04,400 --> 00:51:06,880
complexity of this track challenge
660
00:51:06,880 --> 00:51:09,799
members like no previous work and on
661
00:51:09,799 --> 00:51:11,760
several occasions the arrangements that
662
00:51:11,760 --> 00:51:14,720
yes began to assemble were so intricate
663
00:51:14,720 --> 00:51:17,440
that they had been forgotten by the time
664
00:51:17,440 --> 00:51:19,920
of the band's next session for this
665
00:51:19,920 --> 00:51:21,920
reason the band began to tape their
666
00:51:21,920 --> 00:51:24,760
rehearsal sessions yes continued to
667
00:51:24,760 --> 00:51:27,079
record the song Sometimes in sections
668
00:51:27,079 --> 00:51:29,760
less than 1 minute in length though they
669
00:51:29,760 --> 00:51:32,680
still had no ending for it then once the
670
00:51:32,680 --> 00:51:35,319
sections were assembled the band had to
671
00:51:35,319 --> 00:51:37,119
learn to play the composite musical
672
00:51:37,119 --> 00:51:39,760
array for follow-up live work the
673
00:51:39,760 --> 00:51:41,880
recording of This song Alone took 2
674
00:51:41,880 --> 00:51:45,160
months at advision and was an exhausting
675
00:51:45,160 --> 00:51:47,920
experience for all involved a typical
676
00:51:47,920 --> 00:51:49,680
day for the recording of the album
677
00:51:49,680 --> 00:51:52,760
comprised of Steve how arriving first to
678
00:51:52,760 --> 00:51:55,799
Chin his guitars wakan would then arrive
679
00:51:55,799 --> 00:51:58,599
at about 10 a.m. bruford would then turn
680
00:51:58,599 --> 00:52:01,000
up and find out that Squire was late
681
00:52:01,000 --> 00:52:03,920
again then John Anderson would arrive
682
00:52:03,920 --> 00:52:05,839
and some planning would begin for the
683
00:52:05,839 --> 00:52:08,799
day Squire would be the last to arrive
684
00:52:08,799 --> 00:52:10,640
early in the afternoon and then would go
685
00:52:10,640 --> 00:52:13,079
and tune his base so the band were lucky
686
00:52:13,079 --> 00:52:16,079
to start playing by midafternoon
687
00:52:16,079 --> 00:52:19,079
Wakeman later elaborated on some aspects
688
00:52:19,079 --> 00:52:21,520
of the recording Squire's approach could
689
00:52:21,520 --> 00:52:23,920
be a source of much frustration and
690
00:52:23,920 --> 00:52:26,760
tension Chris would play and then want
691
00:52:26,760 --> 00:52:29,240
to redo the whole thing we'd go but
692
00:52:29,240 --> 00:52:31,640
we're happy with what was played so he'd
693
00:52:31,640 --> 00:52:33,880
fuss around and redo everything and
694
00:52:33,880 --> 00:52:36,359
often so then I'd go up to the pub
695
00:52:36,359 --> 00:52:38,760
around the corner and come back at 10 or
696
00:52:38,760 --> 00:52:41,480
11: p.m. and Chris was still doing his
697
00:52:41,480 --> 00:52:44,200
bass part again with Steve and John
698
00:52:44,200 --> 00:52:47,599
trying to egg him on Wakeman mentioned
699
00:52:47,599 --> 00:52:50,040
the following about the mixing at the
700
00:52:50,040 --> 00:52:52,240
end of the day it got so compressed it
701
00:52:52,240 --> 00:52:54,400
didn't matter who pressed or twiddled
702
00:52:54,400 --> 00:52:56,799
what everyone was listening only to
703
00:52:56,799 --> 00:52:59,680
their own part and not the overall thing
704
00:52:59,680 --> 00:53:02,559
not thinking about the finished product
705
00:53:02,559 --> 00:53:04,359
there was tension in the making of the
706
00:53:04,359 --> 00:53:06,520
album which was likened by bruford as
707
00:53:06,520 --> 00:53:09,240
like having five people trying to write
708
00:53:09,240 --> 00:53:11,880
a novel together yet despite the
709
00:53:11,880 --> 00:53:13,160
difficult working environment the
710
00:53:13,160 --> 00:53:15,799
completed album was exceptional yes
711
00:53:15,799 --> 00:53:18,000
succeeded in attaining their ambition to
712
00:53:18,000 --> 00:53:21,240
record an indulgent sidelong epic
713
00:53:21,240 --> 00:53:23,799
without any padding and also delivered
714
00:53:23,799 --> 00:53:26,920
two other superb tracks a progress Rock
715
00:53:26,920 --> 00:53:30,200
to deliver the master stroke of close to
716
00:53:30,200 --> 00:53:32,920
the edge so let's talk about the artwork
717
00:53:32,920 --> 00:53:35,240
now close to the edge was packaged with
718
00:53:35,240 --> 00:53:37,319
a gatefold sleeve designed and
719
00:53:37,319 --> 00:53:40,359
illustrated by Roger Dean who previously
720
00:53:40,359 --> 00:53:44,000
designed the cover for fragile it marked
721
00:53:44,000 --> 00:53:45,640
the first appearance of the band's
722
00:53:45,640 --> 00:53:48,359
bubble logo type placed on top of a
723
00:53:48,359 --> 00:53:50,680
simple front cover design of a linear
724
00:53:50,680 --> 00:53:53,400
color gradient from black to
725
00:53:53,400 --> 00:53:56,400
green dean sketched the new logo during
726
00:53:56,400 --> 00:53:58,319
during a train journey from London to
727
00:53:58,319 --> 00:54:00,839
Brighton after having an idea that the
728
00:54:00,839 --> 00:54:03,280
three letters could be put together in
729
00:54:03,280 --> 00:54:05,880
an interesting way he gained the
730
00:54:05,880 --> 00:54:07,960
inspiration for the album's artwork
731
00:54:07,960 --> 00:54:10,520
during a visit to Hast Stacks a tall
732
00:54:10,520 --> 00:54:12,920
Hill in The Lakes District he took a
733
00:54:12,920 --> 00:54:14,920
photograph at its Summit and observed
734
00:54:14,920 --> 00:54:17,799
the many towns surrounding it I was
735
00:54:17,799 --> 00:54:20,880
imagining this lake is something grander
736
00:54:20,880 --> 00:54:22,880
he then had the idea to present a
737
00:54:22,880 --> 00:54:24,960
drawing of a waterfall constantly
738
00:54:24,960 --> 00:54:27,760
refreshing itself pouring from all sides
739
00:54:27,760 --> 00:54:31,000
of the lake in this way Dean helped to
740
00:54:31,000 --> 00:54:33,000
elevate the mystical ideas and
741
00:54:33,000 --> 00:54:35,480
imaginative music of yes with his
742
00:54:35,480 --> 00:54:37,760
artwork which depicted Landscapes of
743
00:54:37,760 --> 00:54:41,559
idilic and exotic fantasy close the edge
744
00:54:41,559 --> 00:54:43,480
was released in September
745
00:54:43,480 --> 00:54:47,319
1972 6 weeks into the band 72 to 73
746
00:54:47,319 --> 00:54:50,440
World Tour to promote the album it
747
00:54:50,440 --> 00:54:52,880
became their biggest commercial success
748
00:54:52,880 --> 00:54:55,119
since their formation reaching the
749
00:54:55,119 --> 00:54:57,400
number three spot in the the us at a
750
00:54:57,400 --> 00:54:59,960
time when prog rock was pretty much
751
00:54:59,960 --> 00:55:01,520
mainstream
752
00:55:01,520 --> 00:55:04,000
music Perfection is something which is
753
00:55:04,000 --> 00:55:07,720
not possible or is it the Yes album and
754
00:55:07,720 --> 00:55:10,319
fragile are both great albums but a
755
00:55:10,319 --> 00:55:13,359
little uneven in places but I'm hard
756
00:55:13,359 --> 00:55:15,920
pressed to find a floor in the close to
757
00:55:15,920 --> 00:55:18,799
the edge album from the mysterious intro
758
00:55:18,799 --> 00:55:20,480
that sounds like you're approaching an
759
00:55:20,480 --> 00:55:22,960
Uncharted island in the midst of your
760
00:55:22,960 --> 00:55:25,960
imagination to the fascinating interplay
761
00:55:25,960 --> 00:55:29,280
between Squire and how as Siberian katru
762
00:55:29,280 --> 00:55:32,200
Fades away this album achieved what all
763
00:55:32,200 --> 00:55:34,319
Progressive bands have probably thought
764
00:55:34,319 --> 00:55:37,039
impossible an incredible Masterpiece
765
00:55:37,039 --> 00:55:40,480
that has held up for over 50 years now
766
00:55:40,480 --> 00:55:43,319
and I think it will still be revered in
767
00:55:43,319 --> 00:55:45,760
100 years time and
768
00:55:45,760 --> 00:55:48,599
Beyond I wish we could again see another
769
00:55:48,599 --> 00:55:51,039
Revolution like close to the edge and
770
00:55:51,039 --> 00:55:52,920
other classic prog rock albums of the
771
00:55:52,920 --> 00:55:53,839
early
772
00:55:53,839 --> 00:55:56,559
1970s some of which I'll speak about in
773
00:55:56,559 --> 00:55:59,000
this series but I don't think it's going
774
00:55:59,000 --> 00:56:02,400
to happen so what makes this album so
775
00:56:02,400 --> 00:56:04,680
good musically well that's hard to put
776
00:56:04,680 --> 00:56:07,680
into words my initial response is that
777
00:56:07,680 --> 00:56:10,039
for this album yes had just the right
778
00:56:10,039 --> 00:56:14,160
combination of Melodies rhythms riffs
779
00:56:14,160 --> 00:56:17,480
soundscapes stunning musicianship
780
00:56:17,480 --> 00:56:19,960
creativity and song structures with
781
00:56:19,960 --> 00:56:22,559
music that didn't over repeat it just
782
00:56:22,559 --> 00:56:26,559
all flowed perfectly and it just has the
783
00:56:26,559 --> 00:56:30,319
spark this album is the 1972 High
784
00:56:30,319 --> 00:56:33,359
Watermark of the genre and was perhaps
785
00:56:33,359 --> 00:56:36,319
yes's finest Hour Bru had found close to
786
00:56:36,319 --> 00:56:38,480
the edge a particularly difficult
787
00:56:38,480 --> 00:56:41,119
experience to write and record calling
788
00:56:41,119 --> 00:56:44,240
the process torturous and Incredibly
789
00:56:44,240 --> 00:56:47,000
unpleasant Squire's lateness was an
790
00:56:47,000 --> 00:56:49,359
issue but after recording five Studio
791
00:56:49,359 --> 00:56:51,359
albums with the band beginning with
792
00:56:51,359 --> 00:56:55,039
their self-titled 1969 debut bruford
793
00:56:55,039 --> 00:56:57,160
felt that he had progress rest as far as
794
00:56:57,160 --> 00:57:00,079
he could with yes so the gleaming
795
00:57:00,079 --> 00:57:01,839
Triumph of close to the edge was
796
00:57:01,839 --> 00:57:04,319
somewhat tarnished for many of us by
797
00:57:04,319 --> 00:57:06,839
bruford's decision to leave and join
798
00:57:06,839 --> 00:57:10,039
what would become the L tongues in aspic
799
00:57:10,039 --> 00:57:14,400
lineup of King Crimson bruford said so
800
00:57:14,400 --> 00:57:16,319
then I knew I needed a breath of fresh
801
00:57:16,319 --> 00:57:19,240
air and left the group bruford found
802
00:57:19,240 --> 00:57:20,920
King Crimson attractive because they
803
00:57:20,920 --> 00:57:22,599
were more open to
804
00:57:22,599 --> 00:57:26,240
improvisation bruford said surprise us
805
00:57:26,240 --> 00:57:29,640
go ahead let's improvise
806
00:57:29,640 --> 00:57:32,359
terrific upon advising yes of his
807
00:57:32,359 --> 00:57:35,280
intention to leave the band bruford said
808
00:57:35,280 --> 00:57:37,280
I was terrifically flattered and
809
00:57:37,280 --> 00:57:39,880
gratified that they wanted me to stay
810
00:57:39,880 --> 00:57:41,960
but on the other hand John understood
811
00:57:41,960 --> 00:57:44,039
exactly the people have to do what they
812
00:57:44,039 --> 00:57:47,280
have to do he took the artistic line
813
00:57:47,280 --> 00:57:50,240
which was very sweet of him you must do
814
00:57:50,240 --> 00:57:53,240
what you must do we're all very sad it's
815
00:57:53,240 --> 00:57:55,960
been fantastic but if you have to do
816
00:57:55,960 --> 00:57:56,760
this
817
00:57:56,760 --> 00:57:59,520
then go ahead bruford was also leaving
818
00:57:59,520 --> 00:58:02,079
the band at their creative Peak which I
819
00:58:02,079 --> 00:58:04,000
think was a bold
820
00:58:04,000 --> 00:58:07,039
move his replacement was Alan white who
821
00:58:07,039 --> 00:58:09,079
had been part of John Lenin's plastic
822
00:58:09,079 --> 00:58:12,599
Ono band white was given 3 days notice
823
00:58:12,599 --> 00:58:14,599
of the offer and only had one full
824
00:58:14,599 --> 00:58:16,799
rehearsal with the band prior to the
825
00:58:16,799 --> 00:58:20,280
tour beginning on July 30
826
00:58:20,280 --> 00:58:22,599
1972 how said the following about
827
00:58:22,599 --> 00:58:24,920
bruford's drumming he didn't have two
828
00:58:24,920 --> 00:58:28,920
bass drums and six rototoms and so on he
829
00:58:28,920 --> 00:58:31,760
had the basic kit but the thing was that
830
00:58:31,760 --> 00:58:34,640
was his art the basic kit is all you
831
00:58:34,640 --> 00:58:36,599
need and he made that work in a
832
00:58:36,599 --> 00:58:38,559
wonderful way because he didn't see
833
00:58:38,559 --> 00:58:42,200
himself as a rock drummer so much his
834
00:58:42,200 --> 00:58:44,559
drumming is outlandish it sounds
835
00:58:44,559 --> 00:58:46,760
straight 44 but listen to the way he
836
00:58:46,760 --> 00:58:50,359
adds that extra snare that's Bill's
837
00:58:50,359 --> 00:58:53,400
genius so this is my take on close the
838
00:58:53,400 --> 00:58:55,760
edge I've really enjoyed presenting this
839
00:58:55,760 --> 00:58:58,400
video on this fabulous album and I hope
840
00:58:58,400 --> 00:59:00,799
you've enjoyed watching it too my name
841
00:59:00,799 --> 00:59:02,680
is Tom and I look forward to seeing you
842
00:59:02,680 --> 00:59:04,960
next
843
00:59:09,250 --> 00:59:11,880
[Music]
844
00:59:11,880 --> 00:59:14,880
time
845
00:59:15,079 --> 00:59:21,319
C and we reach our m in between
846
00:59:21,319 --> 00:59:26,200
the close to the edge
847
00:59:26,210 --> 00:59:28,079
[Music]
848
00:59:28,079 --> 00:59:30,280
the
849
00:59:31,720 --> 00:59:34,720
end
850
00:59:35,319 --> 00:59:37,599
Jesus
851
00:59:37,599 --> 00:59:41,799
fall the SE
852
00:59:44,610 --> 00:59:45,030
[Music]
853
00:59:45,030 --> 00:59:53,280
[Applause]
854
00:59:55,480 --> 00:59:55,990
[Music]
855
00:59:55,990 --> 00:59:58,079
[Applause]
856
00:59:58,079 --> 00:59:58,890
I
857
00:59:58,890 --> 01:00:00,319
[Applause]
858
01:00:00,319 --> 01:00:04,319
get I
859
01:00:08,170 --> 01:00:11,889
[Applause]
860
01:00:13,100 --> 01:00:17,000
[Music]
861
01:00:21,700 --> 01:00:26,860
[Music]
862
01:00:30,720 --> 01:00:33,820
[Music]
863
01:00:34,119 --> 01:00:37,119
h52689
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