Often cited as one of the definitive examples of ‘70s-era progressive rock, Yes’ fifth studio outing Close To The Edge arrived via Atlantic Records in September 1972. The album contains just three pieces: the epic nearly 19-minute title track that spans the entire first side of the LP, while “And You and I” and “Siberian Khatru” share the second side. Despite its experimental nature, Close To The Edge was a massive critical and commercial success–the album ultimately reached #4 on the UK charts and #3 in the US, where it sold over a million copies.
As a longstanding favorite of the audiophile community, Close To The Edge has been reissued numerous times over in a variety of different formats–including HDCD, 180-gram vinyl, a Super Audio CD from Audio Fidelity (with the original stereo mix remastered by Steve Hoffman), and a 192-khz/24-bit hi-res digital download on HDTracks.com.
Though it was released during the heyday of quadraphonic sound–and the band’s label, Atlantic, had commissioned four-channel remixes of some popular albums in their roster (several of these, including The Spinners' 1973 self-titled album and The J. Geils Band's Nightmares, were recently re-released on Blu-Ray Audio as part of Rhino’s ongoing ‘Quadio’ series)–Close To The Edge was not issued on quad LP or tape in the 1970s. It’s a shame, as the album’s fantastical multi-layered soundscapes seem perfectly suited to the multichannel format.
Editor’s Note: Close To The Edge was recorded between April and June of 1972 at Advision Studios, with longtime collaborator Eddy Offord serving as producer. Offord’s production and engineering was critical to Yes’ unique sound and success throughout the 1970s, with some fans even viewing him as an honorary member of the band (much like how George Martin is often cited as the “Fifth Beatle”).
During the major labels’ all-too-brief second foray into surround sound music during the early-2000s, two Yes albums–1971’s Fragile and 2001’s Magnification–were reissued in the DVD-Audio format with 5.1 remixes from Tim Weidner. Though Close To The Edge was reportedly considered for a 5.1 release as well, the original multitrack tapes were said to be unavailable at the time. A surround version of the album finally arrived in 2013, when Panegyric Records reissued the album in CD/DVD-A and CD/Blu-Ray configurations–both of which contained brand-new stereo and 5.1 mixes created from the newly-rediscovered 16-track masters by Steven Wilson.
Now, for the new LP/5CD/Blu-Ray Super Deluxe box set that arrived via Rhino Records on March 7, Wilson has gone back to the original session recordings once more in order to craft a Dolby Atmos mix. As part of his well-documented spatial mixing process, he’s also created brand-new stereo and 5.1 versions (these are completely different from the 2013 remixes). This is the third classic Yes reissue to contain a Dolby Atmos mix, following the Super Deluxe Editions of The Yes Album and Fragile released in November 2023 and June 2024.
As with other vintage albums he’s recently had the opportunity to revisit–such as King Crimson’s Larks Tongues In Aspic (1973) and Red (1974)–comparing the new and old 5.1 mixes really shows how Wilson has honed his craft over the past decade. Though the previous surround mix had some stellar moments, for me it’s also plagued by some odd balance issues–such as the harmony vocals from Chris Squire and Steve Howe frequently sounding too loud and overexposed in the rear speakers. The new mix not only addresses all these issues, but also offers improved clarity and more creative use of the expanded soundstage.
After an ambient fade-in from all four corners, "The Solid Time of Change"–the first of four movements that make up the title track–kicks off with nearly four minutes of furious instrumental interplay between Bill Bruford, Steve Howe, and Rick Wakeman. This section unfolds similarly in both 5.1 mixes, with Howe’s guitar placed largely upfront, Wakeman’s manic keys moving between the rear speakers, and Bruford’s drum kit crashing all around the listener. When the organ comes in from behind at around three minutes in, Howe’s guitar moves over the left channel–mirroring the original stereo placement (the previous 5.1 mix had it on the right instead).
The short tom fill transitioning into “Total Mass Retain” used to be primarily in the front right speaker, but now it pops up over your right shoulder to very fun effect. Once Jon Anderson’s voice enters at the four-minute mark, Steve Howe’s sitar-esque double-tracked guitar part fills the front stage while Wakeman’s keys own the rear (curiously, the old mix instead had the guitar in back and keys upfront). Anderson’s vocals (‘A seasoned witch could call you…’) are mostly confined to the center speaker, with his higher-register harmony centered in the back.
Whereas the reverb on Anderson’s voice (‘crossed the line around the changes…’) in the rear speakers came off as a bit overpowering previously, here it’s drier and closer to the original stereo balance. Squire and Howe’s harmonies during the chorus (‘down at the edge, round by the corner’) are again mixed to the back corners, but they’re better-balanced and blended in with the rest of the instrumentation than in the previous surround mix. The mellotron part at 6:30 that used to be in the center speaker now appears centered in the rear, directly behind the listener’s head.
Editor’s Note: In 2013, Close To The Edge was reissued by Panegyric Records in DVD-Audio and Blu-Ray Audio formats containing new stereo and 5.1 surround sound mixes from Steven Wilson. For the 2025 Super Deluxe Edition, Wilson created completely new stereo and 5.1 versions of the album from scratch–as well as a Dolby Atmos mix.
The third movement, “I Get Up, I Get Down,” was among the most effective passages of the 2013 mix for me, but it manages to be even more immersive in the 2025 mix. You’re instantly transported into a dripstone cave, with the cavernous ambience circling the room and backing vocals (‘in her white lace…’) gently emerging from behind. The first 5.1 mix interestingly featured some additional harmony vocals during this section that were edited out of the original stereo mix, whereas the new version removes them.
Moving into “Seasons of Man,” Squire’s frenzied bass riffing fills up all four corners while Howe’s guitar and Wakeman’s keys duel front-to-back. The 2025 mix fixes the issue of the keyboard part just before the 15-minute mark appearing way too loudly in the rear speakers–it’s now placed in the center channel at much lower volume. Wakeman’s solo floats between the front and rear speakers (it was mixed entirely to the back in the previous 5.1 mix), giving way to the reprise of the “Total Mass Retain” melody at around the 16-minute mark.
The epic ending ties together themes from all prior movements, with Howe and Squire’s vocal harmonies soaring from the back channels and Bruford’s toms cascading across the rear stage. This section sounded rather harsh to me on the 2013 Blu-Ray, whereas here it stands up much better at higher volume. The track fades into a reprise of the ambient intro, with the nature sounds and mellotron moving all around the listener.
“Cord of Life,” the first movement of the second piece “And You And I,” opens with Steve Howe’s 12-string guitar arrayed across the front stage and its reverb traveling to the back of the room. Just after the one-minute mark, four different acoustic parts appear spread out in each corner of the room. The minimoog melody appears directly behind the listener’s head in the 2025 mix, whereas it was isolated in the center channel of the 2013 mix.
Wakeman’s mellotron appears mostly from the rear for “Eclipse,” with the minimoog placed in front of the listener. The previous 5.1 mix had the mellotron more-evenly weighted between the front and back channels, while the minimoog was isolated in the center speaker. Jon Anderson’s voice soars from the center channel with striking clarity.
Howe’s double-tracked acoustic guitars in “The Preacher, The Teacher” fill the front stage, with the minimoog centered in the rear. Anderson’s voice (‘sad preacher nailed upon the colored door…’) spills over a bit into the rear, moving closer to the listener. When the rhythm section comes back in just after the seven-minute mark, a pair of electric guitars suddenly appear in the rear speakers. The short final section, “Apocalypse,” places Howe’s steel guitar in the rear as a nice counterpoint to the acoustics and lead vocal upfront.
It’s one of the most complex mixes I’ve ever done. The thing about Yes and Eddy Offord is that the mixes really are performances. Every little guitar phrase, every little vocal nuance, every little bass lick, and every little drum fill has potentially been pushed up in the mix manually. What that means is that you can’t just set your levels and let the mix run through. I had to constantly compare back to the original mix: “Ah, they’ve lifted that little drum fill out!”, “Ah, they’ve lifted that guitar phrase out!”, “Ah, that vocal part is fading into reverb there.”
Steven Wilson, 2014
The iconic guitar intro “Siberian Khatru” bursts from the front speakers, giving way to Bruford’s room-filling drum kit. In surround, Wakeman’s synthesizer and mellotron are divided between the front and rear speakers (the 2013 mix had the synth in front and mellotron in rear, while the 2025 mix reverses this arrangement). The Byrds-inspired three-part harmonies from Anderson, Howe, and Squire appear in a triangular formation around the listener: Anderson is in the center channel, Squire is in the left rear speaker, and Howe is in the right rear.
Wakeman’s harpsichord solo at around the three-minute mark floats in the middle of the room, alternating with Howe’s double-tracked guitars pushed completely into the rear. There’s an especially magical moment just after the four-minute mark, where Bruford’s cymbals seem to dance around the listener as Anderson’s voice (‘hold out the window…’) protrudes from the center channel. The clarity of the drums throughout this track is astounding, particularly when those snare rolls leap out of the front speakers at around the six-minute mark.
Roughly seven minutes in, during the staccato vocal passage, Howe’s guitars suddenly start to circle the room (in the old mix, they remain locked to the front speakers). Wakeman's mellotron moves to the rear as the rhythm guitars continue to circle, with Howe’s solo blasting from the front ‘phantom’ center. Just before the track starts to fade, the lead guitar begins to wildly swirl around the room to spectacular effect.
The Super Deluxe box set is a worthwhile upgrade just for the 2025 5.1 mix, but the Dolby Atmos version of the album quite literally puts it over the top. This mix uses the new 5.1 as a starting point and builds upon it further, completely immersing the listener in a dome-like soundstage with distinct sonic elements attacking from all directions. When listening to the Atmos version of the album on a 7.1.4 system, there were definitely moments where I felt as if I’d been whisked off to a Roger Dean-inspired fantasy world.
One of my favorite aspects of the Atmos mix is the way the side surround speakers frequently spotlight Steve Howe’s rhythm guitar parts, which usually appeared upfront in the 5.1 mix. Similarly, many of the percussion, synthesizer, and harmony vocal layers that were previously mixed to the rear speakers are now suspended above the listener from the height array. The four height speakers are treated not just as a novelty addition, but full-on ‘equal partners’ that consistently spotlight important musical elements.
During the intense intro to ”The Solid Time of Change,” Howe’s guitars move to the side surround speakers while Wakeman’s frenetic keys go roving around the height array. Jon Anderson’s voice in “Total Mass Retain” remains in the center channel, but now its double-tracked counterpart sits up in the front heights. Squire and Howe’s backing vocals during the chorus burst from the rear surrounds.
“The late Thomas Goff built the finest harpsichords and came to Advision to oversee the setting up of his instrument, even instructing Eddy Offord on the best way to mic and record it. I always felt that just because an instrument was perhaps labeled as doing a particular job and particular kind of music, that didn’t mean you couldn't think outside of the box. What was great was the rest of the band felt the same way. Rules are there to be broken.”
Rick Wakeman, 2013
The primordial cave ambience in “I Get Up, I Get Down” completely takes over the room, with the reverb swirling around the height array and sound of water dripping placed mostly in the rear. At around thirteen minutes in, between the two big church organ blasts, Anderson's vocal literally ‘gets up’ to the front heights. The aforementioned organ fills up all seven speakers at ear level, while Wakeman’s organ solo in “Seasons of Man” appears entirely from above to stunning effect.
Moving into “And You And I,” the four acoustic guitar parts in “Cord of Life” are now split between the front and side speakers. The bells amusingly hop from quadrant-to-quadrant around the height array, with Wakeman’s minimoog centered in the rear surrounds. During the ‘coins and crosses’ vocal section just before the three-minute mark, Squire and Howe’s leslie-processed backing vocals float between the rear surrounds and rear heights.
The huge ambience on Wakeman’s mellotron in “Eclipse” travels up to the height array, while his minimoog moves to the side surrounds. Howe’s acoustic guitars upfront alternates with an electric part from the rear in “The Preacher, The Teacher,” with a tambourine circling overhead. Just after the eight-minute mark, Squire and Howe’s vocals (‘coming to terms with all expression made…’) appear completely isolated in the height speakers.
The guitar intro to “Siberian Khatru” moves out towards the side surrounds, with the strummed acoustic hovering directly behind the listener’s head. The Atmos mix really shows off the extent of the vocal layering: Anderson’s double-tracked vocals are split between the center and front heights, while Howe and Squire’s voice hover directly above the listener. Howe’s guitars take the side surrounds, with Wakeman’s organ centered in the rear.
After a short guitar interlude that circles the room clockwise–traveling between the top and bottom speakers at the same time–a tambourine pops up in the front heights when the vocals come back in just after the two-minute mark. During the solo section starting at 3:10, Howe’s sitar-like double-tracked guitars move up to the rear heights–alternating with Wakeman’s harpsichord floating halfway up the back wall. The echoey guitar solo at around 3:40 emanates completely from the front heights as a shaker traverses the height array.
The final third of the track is particularly stunning in Atmos, with Howe’s guitars swirling at ground level while the vocals appear from above. Wakeman’s mellotron and synthesizer are split between the front and back speakers, with Howe’s guitar solo blasting from overhead. During the fade, the solo starts to wildly swirl around the height array.
“We stole a bit from Stravinsky by having that pounding staccato and at the same time throwing those accents on voice and drums [while I’m] driving through it with that constant guitar motif. ["Siberian Khatru" is] a good example of hi-tech arranging circa 1972.”
Steve Howe, 2013
Though the Blu-Ray disc with high-resolution stereo and surround mixes is probably the most interesting aspect of the new box set for audiophiles and immersive music fans, the archival team at Rhino have curated a number of other worthwhile extras. For instance, the ‘rarities’ CD features rough mixes, alternate versions (including the long-sought-after 'dry' mix of "America," previously only available on a sampler LP called The New Age of Atlantic), and Steven Wilson’s stereo-only edits of “Siberian Khatru,” “Cord of Life,” and “Total Mass Retain.” Two more CDs house a live recording–Live At The Rainbow, 12/16/1972–which captures the group in their prime while on tour supporting the album.
However, as beautifully put-together as the box set is, it would have been nice to see a more economical standalone Blu-Ray edition too–as was done for Steven Wilson's remixes of Van Morrison’s Moondance back in 2023. That being said, I’m thrilled to have the Atmos mix available in high-resolution on physical media rather than exclusive to streaming services (as is the case with some other Atmos mixes Wilson has done for Warner, such as the Grateful Dead’s American Beauty and Gary Kemp's This Destination).
Overall, for fans of Yes and immersive audio, this box set isn't one to miss. Close To The Edge is a landmark album, and–at least for me–Wilson has succeeded in crafting an immersive experience befitting of its legendary status. Looking to the future, It will be interesting to see if the following two records–1973’s Tales From Topographic Oceans and 1974’s Relayer, both of which were already released in 5.1–are earmarked next for the Dolby Atmos treatment.
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