YesClose To The Edge

Label:Atlantic – 8122797157
Vinyl, LP, Album, Reissue, Gatefold, 180 Gram
Style:Prog Rock, Art Rock, Symphonic Rock


Close To The Edge
Written-By [Song-Words]Anderson*, Howe*
A.IThe Solid Time Of Change
A.IITotal Mass Retain
A.IIII Get Up I Get Down
A.IVSeasons Of Man
And You And I
Music By [Themes]Bruford*, Squire*, Howe*
Written-By [Song Words]Anderson*
B1.ICord Of Life
Written-ByBruford*, Squire*
B1.IIIThe Preacher The Teacher
B1.IVThe Apocalypse
B2Siberian Khatru
Music By [Themes]Anderson*, Wakeman*, Howe*
Written-By [Song-Words]Anderson*

Companies, etc.



Marketed by Rhino Entertainment Company, a Warner Music Group Company. Manufactured in the E.U.
Rick Wakeman appears by Courtesy of A&M records Ltd.
A few copies signed by Bill Bruford on front cover were available exclusively from the Burning Shed webstore.

Gatefold sleeve, printed inner sleeve with lyrics.
Black Atlantic logo on back cover, bottom left corner.
Sticker on front of album on shrinkwrap reads:


Barcode and Other Identifiers

  • Barcode (Text): 0 81227 97157 1
  • Barcode (Scanned): 081227971571
  • Label Code: LC 02982
  • Matrix / Runout (Runout A-side, etched): 8122797157-A CB BC88408-01 A1
  • Matrix / Runout (Runout B-side, etched): 8122797157-B CB BC88408-01 B2

Other Versions (5 of 349)

View All
Title (Format)LabelCat#CountryYear
Recently Edited
Close To The Edge (LP, Album, Stereo, Gatefold, Textured Sleeve)Atlantic, AtlanticK50012, K 50012UK1972
Recently Edited
Close To The Edge (LP, Album, Stereo, RI - Richmond Pressing)AtlanticSD 7244US1972
Recently Edited
Close To The Edge (LP, Album, Stereo, Gatefold)AtlanticATL 50 012Germany1972
Recently Edited
Close To The Edge (LP, Album)AtlanticGX 01-588Mexico1972
Recently Edited
Close To The Edge (LP, Album)AtlanticSD 7244New Zealand1972



  • Jdlcbadia_67's avatar
    Extraordinaria edición. Sonido contundente con una sensación de presencia de los instrumentos y las voces que lo convierten en una de mis mejores copias en mi colección.
    • vinylforlunch's avatar
      Edited one month ago
      Great sounding album, analogue rrepress, no evidence of any inner ring distortion at all, the original pressings of this album had inner ring distortion which was very evident on side one but no other Yes album had this problem, all OG albums from this period overall sound very bright compared to today's recordings.
      • drneglector's avatar
        There was no sticker on front of album on the shrink wrap on my release. Other than that it is identical. Same matrix/runout, barcode and everything. The record plays great.
        • Jbennymusic's avatar
          I am assuming there is no way to escape the terrible inner ring distortion on this album. All my Yes albums from the 70s have terrible inner ring distortion, even my friends copy of this has it. I am gonna stick to Yes CDs from here on out.
          • jasonlollarwinder's avatar
            I use to have the original-this pressing has no noise I have heard- the drums occasionally get a bit muddy on the cymbals but overall sometimes the drums sound better than usual and the content is super good
            • LeonTP's avatar
              I held off on this one since some critiqued the release, even though it had the CB runouts I generally associate with quality.
              Boy am I glad its still in print so I didnt miss it. Because this may be the best cut of Close to the Edge you can hear right now.
              Its got the right tonality and brings out the drums better than anything else. It doesnt have the most bass and if you want a bit more of that I would suggest the UK or US Originals or Wilson Remix which are also great. But this has more realism than the originals.
              And yes the organs towards the end of Side A are likely distorted on the tape as well, since even my ML stylus cant track it without a little breaking up of the signal, it will be on all analog cuts therefore.
              The cover could indeed also be a bit better but the pressing is perfect for me. Its not a quiet cut so even a decent pressing surface would suffice but Optimal delivers here just like Chris Bellman has.
              I have done a comparison over needledrop samples of several common pressings and below are my findings so far:

              Wilson Remix Compared:
              Comparing my Chris Bellman original mix 2012 cut to the Wilson would be quite the undertaking. There are many a details changed slightly and a lot. Pointing it all out would be an essay worth of material.
              But the gist I feel from mainly focusing on the end half of the title track is that the Wilson cut again is more separated and sparkly. The drums are brought back more though, allowing those minute sounds to be heard and it balances very well. Another plus for the Wilson is that the Organ solos seem completely distortion free with his touch ups, given you have a good stylus of course. I believe every analog version will distort a bit on these parts as its a flaw on the tape.
              As both are cut by CB it makes for a pretty fair comparison too. I do feel the 2012 cut is brighter in general though, adding the extra focus on vocals and drums makes it a more intimate experience. The drawback is it loses out a bit on the bass.
              I like both equally. The Wilson is the more audiophile sounding approach while the 2012 is more rock n roll feeling in a good way.
              Both my copies are perfectly pressed however I have to say the redone cover is more interesting looking.

              Preference Rankings:
              1. Bellmans is very realistic sounding with lush but maybe too bright drums.
              1. Wilsons Remix is the most detailed and separated with good balance, quite audiophile like.
              2. UK is balanced / natural, maybe slightly lusher drums than Piros cut + less harsh than Bellmans.
              3. US Piros is similar but has less present drums which could be better but also drier than the UKs.
              4. The Friday Music has slightly muffled drums and weird EQ overall.
              5. Canadian is also a bit muffled overall but has decent low end.
              6. German First sounds decent, just a little lower EQd than most but also has recessed vocals.
              7. German Strawberry is muffled to hell like Starwberry masterings usually are, easily the worst.
              ?. MFSL

              Equipment Used:
              Technics SL-1210GR Turntable
              ATVM95ML Cartridge
              Cyrus 2 Amplifier
              System Fidelity SF-3050 Tower Speakers
              • SiLic0ne.t0aD's avatar
                Heard a needledrop of this, the 1st UK and several others.. This pressing sounded the closest to the UK and is a no-brainer! Sounds magnificent. 👍👍
                • Ys_nls's avatar
                  Sounds much MUCH better than my 2003 CD edition. The difference is outstanding. Fantastic mastering.
                  • Jesus__'s avatar
                    Edited one year ago
                    Don't mind the review below. I have got several pressings of this record, as well as the blu-ray/DVD surround audio. Compared and checked each version. This Chris Bellman pressing doesn't sound too bright. The separation of instruments is extreme and sounds spectacular. Great balanced and clear bass. Chris Squire sounds awesome. This record is very well recorded in the first place and it shows. Only flaw is the cover print, and that it only comes in paper cardboard inner sleeve. Imo it is much better than the Steven Wilson mix. Bellman's mastering is an audiophile worthy.

                    Equipment used: Pair of Quested V2108 monitors, one center, and two Quested VS2108 (old type) for rears and as second stereo option. Quested SB10" Subwoofer - crossover set to cover 19-40Hz. Rega RP40 with Ania Pro stylus, Aria Mk3 RIAA, Mackie VLZ1202Pro mixer - balanced XLR to the monitors.
                    • jlsbradham's avatar
                      Surreal. Live. Cathartic. These are some of the words that came to mind as I experienced this pressing of Yes’s beloved classic album Close to the Edge for the first time, although by the time the album was done, they had been replaced with some decidedly less flowery linguistic descriptors, haha. The album starts out with an avant-garde jam that leads into the title track…and even these first couple minutes of what sound to be unscripted noodling are sublime. By the time the verse kicks in, it’s apparent that this is intended to be a true audiophile pressing. But does it live up to that intention? As far as the music goes, this is one of Yes’ all time best and most well-known records. The epic, enthralling journey of Close to the Edge even makes this the favorite Yes album for many fans. Personally, I prefer Fragile and The Yes Album, especially when introducing others to Yes for the first time, but Close to the Edge is still an incredible, beautiful, and captivating album, with its three compositions, Close to the Edge, And You And I, and Siberian Khatru. Jon Anderson was clearly experimenting with vocal layering more than ever before, achieving quite interesting results. Some of Rick Wakeman’s best keyboard playing ever is on this album. The rest of the band members all sound fantastic as always. If ever there was a rock band made up of absolute virtuosos of their instruments, that band was undeniably Yes, and their skills are on fully display here.

                      Now, as for the mixing/mastering, this is where I find greatest fault with this release. I am typically a huge fan of Chris Bellman’s work, but with this particular release, the high end of the frequency spectrum came over as being excessively shrill and bright. The album sounded as if it was trying so hard to be an audiophile pressing, but it just sounded overly bright instead. Soundstage was not as wide as I would have hoped, and this release was just missing a warmth that I was hoping for. I am a very big fan of the One Step of Fragile, and that particular pressing had almost identical instrumentation as Close to the Edge, but with a much wider stereo image and much warmer EQ choices. There are also some muddy segments in Close to the Edge, which I did not encounter on the One Step of Fragile. I realize that this pressing of Close to the Edge is not on SuperVinyl and costs a fraction of the price of the One Step, and I also know these are different albums, but just for comparison’s sake, I mentioned it here. I feel that an EQ in the playback chain might help, but I do not have one to try, although I would like to invest in a decent one some day.

                      As for the packaging, it is average. Nothing special, nothing terrible. A little flimsy, but it’ll do. The pressing itself was well done, save for a few sibilant portions that I think are in the recording itself. The record is heavy, flat, and I heard no clicks or pops throughout the entirety of both sides. All in all, this is a fairly worthwhile release of this classic album, but I feel that it could have been much better with some different EQ choices in the mastering process. That being said, while I don’t agree with the incredibly glowing reviews here, I imagine it would be very hard to find a better pressing of Close to the Edge that is this affordable.

                      Music: 4/5
                      Mixing/mastering: 3.5/5
                      Packaging: 4/5
                      Pressing: 4.5/5

                      Equipment used: Pro-Ject The Classic SB SuperPack turntable, VAS custom wood-body Shure M91 MM cartridge with ML stylus, Pro-Ject Tube Box DS2 Preamp, Reisong Tube Amplifier, Klipsch RP-8060FA floor tower speakers

                      -Review by Linc Bradham


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