Sonic Grade: F
- An outstanding copy with solid Double Plus (A++) grades on both sides – the sound is huge and powerful
- Plenty of Prog Rock Power is on display here – Eddie Offord’s engineering is Hard To Fault throughout
- A Top 100 Album and the band’s best sounding record – quiet too, Mint Minus to Mint Minus Minus
- “It was the addition of Steve Howe’s guitar pyrotechnics that finally allowed Yes to find their true identity. The Yes Album is a giant leap forward.”
At its best, this album is a Big Speaker Prog-Rock opus with tremendous power and dynamic range, but it takes a special pressing like this one to really bring it to life.
These guys — and by that I mean this particular iteration of the band, the actual players that were involved in the making of this album — came together for the first time and created the sound of Yes on this very album, rather aptly titled when you think about it.
With the amazing EDDIE OFFORD at the board, as well as the best batch of songs ever to appear on a single Yes album, they produced both their sonic and musical masterpiece — good news for audiophiles with Big Speakers! (more…)
This shootout taught us that track one is not as well recorded as the rest of side one. On copy after copy, and there were well over a dozen, it was the other big track on side one, South Side of the Sky, that had consistently better sound. You really hear it in the choruses, where the voices are so full-bodied, powerful, rich and energetic on that fourth track, and less of all of these qualities on the first.
You really hear it in the choruses, where the voices are so full-bodied, powerful, rich and energetic on that fourth track, and less of all of these qualities on the first. We play both songs, but we play them in reverse order, knowing that the mind-boggling sound is really going to be on South Side, not so much Roundabout.
This record should give any record you own a run for its money. It’s as BIG and as BOLD a statement about raising the bar for rock recordings as any I know. Without a doubt one of the Best Rock Recordings of all time.
- Triple Triple (A+++) – this shockingly good copy had Shootout Winning sound on BOTH SIDES and plays as quietly as any copy ever will
- Our monster Tarkus shootout produced exactly one amazing sounding British pressing of this quality, this one, guaranteed to rock your world
- Eddie Offord’s trademark Tubey Magic, energy, resolution, whomp factor and dynamics are all over this phenomenal recording
- “More accomplished than the trio’s first album, but not quite as polished as Brain Salad Surgery, Tarkus is nevertheless a must-have.”
This killer copy features some of the more intense prog rock sound to hit our table in quite some time. This is a true Demo Disc LP, one of the most dynamic and powerful rock recordings ever made.
The organ captured here by Eddie Offord (of Yes engineering fame, we’re his biggest fans) and then transferred so well onto our Hot Stamper pressings will rattle the foundation of your house if you’re not careful. This music really needs that kind of megawatt reproduction to make sense. It’s big Bombastic Prog that wants desperately to rock your world. At moderate levels it just sounds overblown and silly. At loud levels it actually does rock your world. (more…)
- One of the best copies to ever hit the site and boy is it KILLER! Triple Plus (A+++) sound or close to it throughout
- An excellent recording that really shines on a good pressing like this; fairly quiet vinyl too!
- “Every track on this album has been carefully thought, arranged, and performed to perfection…”
It’s not easy to find great copies of this album. This kind of prog rock demands big, bold sound, and not all copies have the size or low end weight to pull it off. Keith Emerson’s organ needs to extend all the way down, or it just doesn’t work. Both sides here have a great bottom end, and some real texture and space up top. (more…)
Click on the link below to pull up the many reviews and commentaries we’ve written, as well as Hot Stamper copies that are currently available on the site.
EDDIE OFFORD took charge of Yes’s engineering starting with Time and a Word (1970) and we are very lucky that he did. Although his masterpiece is surely ELP’s first album, both The Yes Album and Fragile are so amazingly well recorded they clearly belong at the top of any list of All Time Great Sounding Rock Albums.
In-Depth Track Commentary
The Brit copies may take top honors for side one (“sweetness, openness, tubey magic, correct tonality, presence without aggressiveness, well-defined note-like bass, extended airy highs”) but the Hot Stamper Cotillion copies KILL on side two. They really ROCK, with greater dynamic contrasts and seriously prodigious bass, some of the best ever committed to vinyl.
The Brits tend to be a bit too “pretty” sounding. They’re too polite for this bombastic music. This music needs the whomp down below and lots of jump factor to work its magic.
The Brits are super-low distortion, with a more open, sweeter sound, especially up top, but the power of the music is just not as powerful as it can be on these very special Cotillions.
This Cotillion on side one is a rare gem indeed, one of the best domestics we’ve ever heard. It’s not quite as smooth and sweet as some, but it’s every bit as good in most other areas, and better in the bass. The Cotillion pressings of this album have bass that puts 99% of all the rock records in the world to shame. (And 100% of the half-speed mastered records!)
This is a case where, to get the ultimate sound, you not only need two copies, you need two copies made in different countries!
Not Breaking Up Is Hard To Do
The organ that opens side two is always going to break up a tiny bit. No ifs, ands, or buts about it. In fact, if it DOESN’T break up for you, I’m going to go out on a limb and say that either your copy or your stereo is too smooth. We played somewhere between two and three dozen copies this week, and you just can’t find a hot copy without at least a hint of distortion on the organ. (more…)
Are Your Planets Aligned?
A word of caution: Even our Hottest Stamper copies can sound problematical unless your system is firing on all cylinders. Your electricity has got to be cooking, you’ve got to be using the right room treatments, and ideally you should be using a demagnetizer such as the Talisman on the record itself, your cables (power, interconnect and speaker) as well as the individual drivers of your speakers.
This is a record that’s going to demand a lot from the listener, and we want to make sure that you’re up to the challenge. If you don’t mind putting in a little hard work, here’s a record that will reward you many times over, and probably teach you a thing or two about tweaking your gear in the process.
We’d started and abandoned this shootout multiple times in the previous decade; the typical sounding copy was just too painful to listen to, and the better pressings weren’t doing what we had hoped they would. Where was the Tubey Magical analog sound with the HUGE whomp factor that we’d been hearing on the best copies of Fragile and The Yes Album? We just could not find that sound on Close to the Edge.
As futile as our previous attempts were, we decided in 2008 that we would take another stab at it. After all, there had been quite a few changes around here that had the stereo working really well — the addition of the Odyssey Record Cleaning Machine and Walker Enzyme solution to our cleaning process, the Talisman Magnetic Optimizer, the third pair of Hallographs we added years back, tons of smaller tweaks, and a few other tricks that we’re going to have to leave hidden up our sleeves for now.
The Planets Align
Think about it: This is a highly COMPLEX recording, with HUGE organs, light-speed changes, lots of multi-tracking, and what amounts to an OVERLOAD of musical information. Can you imagine how irritating that would sound on a third-rate copy? We didn’t have to imagine it — we lived through it! (more…)
The Analogue Productions 180g reissue shown here is mastered by Steve Hoffman and Kevin Grey, two guys I respect, but the results of their latest collaboration leave much to be desired. The overall sound is lean. This is especially noticeable on the too thin-sounding guitars and vocals. Believe me, it’s no fun to play a Yes album with thin guitars and vocals.
Also, there’s a noticeable lack of ambience throughout the record. What comes to mind when I hear a record that sounds like this is the dreaded R word: Reissue. I find it hard to believe they had the actual two-track original master tape to work with. The sound is just too anemic to have come from the real tape. If they did have the real tape, then they really botched the job.