Editing Close to the Edge (section)

=== Side two ===
"[[And You and I]]" originated as a more folk-oriented song that Anderson developed which was based around the idea of presenting a theme and building it as the track progresses.<ref name=YWDisc/> The track is in four sections; its style and themes were worked on by Howe, Bruford, and Squire, the only track on the album that credits Bruford and Squire as writers.<ref name=LPsleeve/> Anderson pitched his ideas for the track while strumming chords on a guitar, singing the section where the first lyric comes in. It was a theme that Howe particularly enjoyed and was keen to develop.<ref name=trackbytrack/>{{sfn|Morse|1996|p=37}} While introducing the song on tour, Anderson said its working title was "The Protest Song".<ref>{{Cite AV media|first=Jon|last=Anderson|date=11 November 1972|title=Disc 5, track 5 on [[Progeny: Seven Shows from Seventy-Two]]. Anderson's introduction to "And You and I".|medium=CD|publisher=Rhino Records|id=081227956417}}</ref> In its original form, the song had an extended ending that Welch described as "a shattering climax", but its popularity amongst the band decreased over time, leading to their decision to cut it from the final version.{{sfn|Welch|2008|p=125}}{{sfn|Morse|1996|p=39}} In a newspaper review of a Yes show in August 1972, the writer paraphrased that Anderson calls the song "a tale of the search for truth and purity between two people".<ref>{{cite news|url=http://forgotten-yesterdays.com/_graphics/graphic/thumb/graphic_24467_thumb.jpg|title=YES performs at Convention Hall|first=Pam|last=Metzler|date=14 August 1972|newspaper=Asbury Park Press|via=Forgotten Yesterdays|access-date=2 December 2021}}</ref> Anderson himself said it is similar to that of a hymn, in the sense of feeling "secure in the knowledge of knowing there is somebody... God maybe".<ref name=nme1972-07-15>{{cite magazine|title=Yes on edge|first=Tony|last=Stewart|magazine=NME|date=15 July 1972|pages=8–9|via=ProQuest}}</ref> The track starts with Howe on a Guild 12-string acoustic that belonged to Squire,<ref>{{cite web|url=https://www.gear4music.com/blog/yes-steve-howe-interview/|title=Yes 'Close to the Edge' 50th Anniversary – Steve Howe Exclusive Interview|first=Tom|last=Rice|publisher=Gear4Music|date=27 May 2022|access-date=23 August 2022}}</ref> initially playing improvised [[String harmonics|harmonics]] and saying "Okay" in response to Offord who signalled to Howe that he was ready to record. The moment was not part of the song, but Offord liked it and persuaded the band to keep it in.<ref name=CAR22>{{cite AV media|url=https://www.youtube.com/watch?v=Env7ShS2_FA|title=Steve Howe (Interview): Close to the Edge|publisher=Classic Album Review|date=May 2022|via=YouTube}}</ref> "The Preacher, the Teacher" was developed in a single afternoon. Anderson suggested the idea of it having a more country feel, to which Howe and Squire came up with respective guitar and bass arrangements that Anderson thought "sat together so sweet".<ref name=trackbytrack/>

"[[Siberian Khatru]]" is a more straightforward rock song that developed from an idea that Anderson had on an acoustic guitar. He did not have the entire track worked out, so the rest of the group took the sections he needed help with and discussed what riffs best suited it as it lacked one strong enough to carry the song.{{sfn|Morse|1996|p=40}}<ref name=trackbytrack/> Wakeman received a writing credit on the song, and has a solo played on a Thomas Goff model harpsichord. He recalled Goff visiting the studio and directing Offord on the best way to set up and record the instrument.<ref name=YWDisc/> In terms of its lyrics, Anderson noted the song is a collection of "interesting words, though it does relate to the dreams of clear summer days".{{sfn|Morse|1996|p=39}} He claimed "khatru" translates to "as you wish" in the Yemeni dialect of Arabic, but had no idea what the word meant at the time until he asked someone to look up its meaning.<ref name=trackbytrack/> Howe said the group were inspired by [[Igor Stravinsky]] when it came to the end of the song, "by having that staccato pounding and at the same time throwing those accents on voice and drums and having me driving through it with that constant guitar motif."<ref name=YWDisc/> When it came to recording Howe's ending guitar solo, one experiment involved Offord placing one microphone by the amplifier and having his assistant swing a second microphone around the room to create a [[Doppler effect]].{{sfn|Morse|1996|p=40}} [[John Frusciante]] of [[Red Hot Chili Peppers]] has cited the closing solo as an influence for his own guitar solo on "[[Get on Top]]". He said: "The band sound is really big – and they're playing fast – and then this clean guitar comes out over the top. It's really beautiful, like it's on its own sort of shelf. For 'Get on Top', I wanted to play something that would create a contrast between the solo and the background."<ref>{{cite web |url=http://medlem.spray.se/frusciante/artiklar/rhcp1.htm|title=John Frusciante Interview|access-date=9 July 2012|archive-url=https://web.archive.org/web/20120212162729/http://medlem.spray.se/frusciante/artiklar/rhcp1.htm|archive-date=12 February 2012}}</ref>