YES
Close To The Edge
Close To The Edge
was first issued as ATLANTIC #7244 (13/09/72)
(1972 / 2009)
1. Close To The Edge 18'42
i. The Solid Time Of Change
(Jon Anderson / Steve Howe)
ii. Total Mass Retain
(Jon Anderson / Chris Squire)
iii. I Get Up I Get Down
(Jon Anderson / Steve Howe)
iv. Season Of Man
(Jon Anderson / Steve Howe)
©1972 (Renewed) TOPOGRAPHIC MUSIC Ltd. (ASCAP)
All Rights Administered by WB MUSIC Corp.
2. And You And I 10'09
i. Cord Of Life
(Jon Anderson; Themes by Bill Bruford / Steve Howe / Chris Squire)
ii. Eclipse
(Jon Anderson / Bill Bruford / Chris Squire)
iii. The Preacher The Teacher
(Jon Anderson / Bill Bruford / Steve Howe / Chris Squire)
iv. Apocalypse
(Jon Anderson / Bill Bruford / Steve Howe / Chris Squire)
©1972 (Renewed) TOPOGRAPHIC MUSIC Ltd. (ASCAP)
All Rights Administered by WB MUSIC Corp.
3. Siberian Khatru 9'01
(Jon Anderson / Steve Howe / Rick Wakeman)
©1972 (Renewed) TOPOGRAPHIC MUSIC Ltd. (ASCAP)
All Rights Administered by WB MUSIC Corp.
Bonus Tracks
(Paul Simon)
From the ATLANTIC release "Age Of Atlantic"
5. Total Mass Retain (Single version) 3'22
(Jon Anderson / Chris Squire)
6. And You And I (Alternate version) 10'18
i. Cord Of Life
(Jon Anderson; Themes by Bill Bruford / Steve Howe / Chris Squire)
ii. Eclipse
(Jon Anderson / Bill Bruford / Chris Squire)
iii. The Preacher The Teacher
(Jon Anderson / Bill Bruford / Steve Howe / Chris Squire)
iv. Apocalypse
(Jon Anderson / Bill Bruford / Steve Howe / Chris Squire)
(Previously Unissued)
7. Siberia (Studio Run-Through of "Siberian Khatru")
(Previously Unissued)
Total Time: 65:03
Jon Anderson - Vocals
Steve Howe - Guitars, Vocals
Rick Wakeman - Keyboards
Chris Squire - Bass, Vocals
Bill Bruford - Drums, Percussion
Production: YES and Eddie Offord
All Arrangements by YES
Tapes: Mike Dunne
Sound Produced by Bill Inglot
Coordinator: Brian Lane
Photographs: Martin Adelman & Roger Dean
Cover: Roger Dean
Reissue Supervision: Steve Woolard & David McLees
Remastering: Dan Hersch & Bill Inglot at DIGIPREP
Product Manager: Marc Salata
Editorial Supervision: Cory Frye
Art Direction & Design: Greg Allen@gapd with Bryan Lasley
Photos: Roger Dean (under tray), Pieter Mazel / SUNSHINE / RETNA Ltd. (pg. 6 top),
MICHAELOCHSARCHIVES.COM (pg. 15), Neal Preston (pg. 9 top right),
Michael Putland / RETNA Ltd. (pgs. 4, 6 bottom & 9 top left)
& RETNA Ltd. (pgs 2-3 & 9)
Project Assistance: Karen LeBlanc, Tim Scanlin, April Milek, Randy Perry,
Leigh Hall, Ginger Dettman & Steven Chean
Special Thanks:
Clifford N. Loeslin & Don Williams
This Reissue ©1972 & 2003 ELEKTRA ENTERTAINMENT
©2003 WARNER STRAT MARKETING
WARNER MUSIC GROUP an AOL TIME WARNER COMPANY
Few artists are fortunate enough to create a work that transcends its time.
The muse appears at a particular point in a creative career to draw out an artist's best elements, connecting with an audience in a manner that is rarely repeated.
Such an event marks a creative maturity and points to a fearlessness in the pursuit of perfection.
However, al! that the members of YES were concerned with in 1972 was how to follow up their successful Fragile LP.
Rick Wakeman had joined Jon Anderson, Steve Howe, Chris Squire, and Bill Bruford on that album to produce a collection of songs exhibiting their collective and individual talents.
Not content to cover the same ground, the quintet concentrated on pushing the envelope even further, crafting a piece that would double the length of their previous extended pieces.
YES had already amassed an impressive collection of epics that hovered around the ten-minute mark, exceeding what was perceived as the standard length in popular music.
But song length itself wasn't the point: the band took the time to say what they had to say.
Instrumental sections may have abounded, but they weren't just random jams; they were deliberately conceived and integral to the totality of the desired effect.
Producer Eddie Offord was back, which at this point was a given.
According to Steve Howe: "At the time he was an integrated part of the recording experience, and then he'd become part of the life experience as well".
Eddie was instrumental in collaborating with the band to design the Yes sound. The fruition of this partnership resulted in an album of three pieces titled Close To The Edge,
one of the crowning gems of YES' career and possibly of the progressive rock genre in general.
Compared to their later works, the structure of the opener, the title track, was deceptively simple in its construction. Broken down to its barest components,
"Close To The Edge" boasts an introduction followed by four movements; all but the third contain a common structure.
This allowed the band to explore and extend the various themes and melodies in a more linear fashion than usual.
Edge begins with an idea developed by Jon: a gradual rise of soundsMcelestial, tinkling, with flocks of birdsHbuilding to a crescendo, where YES come in with a crash.
Rarely has the band opened with such intensity. The main ascending theme in the song's intro was pulled together by Steve, Bill, and Chris,
and based on a Bill conceptHnot surprising, given the drummer's jazz sensibilities, though the entire band at the time fell under the spell of the instrumental intensity of the MAHAVISHNU ORCHESTRA.
The intro was essentially recorded live in the studio.
It propels at top speed; Chris and Rick both play ascending runs, Bill's all over the drum kit, and Steve peels fluid and frenetic riffs from his recently acquired Gibson 3354
it's like hanging from the caboose of a speeding train. The momentum is broken by abrupt stops for brief, blissful vocal pauses in the instrumental storm.
The introduction ends with the vocal blast leading to the main theme, a lilting melody that varies as it moves between major and minor keys.
What follows is the Edge movement "The Solid Time Of Change".
The aforementioned common movements feature two sets of two verses broken up by choruses, plus a recurring theme echoing the celestial introduction.
Steve's Coral Electric Sitar adds an appropriate ethnic flavor to an almost chanted monotonic vocal line, with Chris contributing a yelping bass figure (he would play a different line in the next movement, then use them both in the final one).
In the second set Steve would play fluid electric guitar lines against Jon's more melodic vocals, Rick providing a foundation in playing one note common to the chords.
Overall these verses originated in songs that Jon and Steve had both developed separately. Jon conceived the verses, and Steve contributed to the chorus from a song he had written titled "The Longest Day Of The Year".
Steve: "Jon would take things out of the personal, autobiographical sense and put it in a worldly sense".
As in the best YES music, the lyrics work on many different levels.
The first chorus ("Down at the end, round by the corner") is tentative, with Jon's high voice warning "not right away," almost as if he's telling the chorus that it's
not time yet for the payoff. When said payoff arrives later, it's jubilantly depicted, the melody ascending with "I get up", descending for "I get down".
After the second movement ("Total Mass Retain"),
YES takes a different journey. The band drops into "I Get Up I Get Down",
a pastoral detour where dreamy backing vocals from Steve and Chris (based on a Steve idea) play off against Jon's main line;
Rick's simple electric piano leads to anxious Moog. This section proved memorable in YES performances, as a haze (courtesy of dry ice) would cover the stage, contributing to the suite's airiness.
Rick's synthesizer drives the track to an intense peak, and before we know it, we're on to "Seasons Of Man", the keyboardist's stunning organ solo leading to the final verses.
The song's elements performance, production, and composition all cohere in a brilliant climax, a feeling akin to being "on the hill", viewing "the silence of the valley," musically taking your breath away.
The recurring celestial theme, which breaks up the repeated choruses that follow, is washed into the album's opening sound effects, now descending in volume. The cumulative effect of what was then YES' longest piece is jaw-dropping, all components essential to the wallop the piece ultimately delivers.
What follows does not disappoint, "And You And I" starts casually, with Steve tuning up his 12-string; though it wasn't deliberately intended for the album, its inclusion contributes to the track's warmth, where the vocal melody and guitar rise and fall, lulling us into powerful and vast vistas.
Rick's sumptuous mellotron parts drive the band, Steve's steel guitar gets its first thorough workout on a Yes album, Chris and Bill add to the dreamy quality, and Jon's vocals soar in and hit the movement home.
The early version included in this reissue not only gives a fascinating look at the song's development, it also shows how integral the sections are to the song. One key part had yet to be written; after it was conceived, it allowed Yes to arrange the song for greater impact.
"Siberian Khatru" contains darker elements, though it does feature jaunty riffs and vocal melody verse. Steve credits Bill with the main guitar line that runs through the song; it wasn't unusual for one YES member to write a line for another's instrument.
A backing vocal from early in the piece ("Outboard ... river... ") is reprised later as a chant, driving the song to the outro.
The early version included here has a few distinct differences, with more conventional instrumentation in the middle section.
YES were getting more adventurous and confident with Close To The Edge, a big step up from their earlier releases.
But the recording process took longer than previous efforts, which grated on Bill Bruford. During the mixing of the album, Bill told his bandmates that he was leaving YES to join KING CRIMSON. Though he offered to tour, the band decided it was best to find a replacement drummer sooner rather than later.
That someone was Alan White, a friend of Eddie's who'd been a regular visitor to the Edge sessions. He was already friendly with the members and was interested in joining. Above all, he was a "name" drummer, making his mark with the likes of John Lennon and George Harrison.
But despite Bill's eagerness to move on, his contribution here is nothing short of spectacular, and he left the band on a high note.
When it hit the streets in September 1972, Close To The Edge won critical accolades and shot to #3 on the Billboard Album chart.
It featured another cover by artist Roger Dean, who created a YES design markedly different from the one on Fragile.
This graphic would become known as the "bubble logo" that is indelibly associated with the band to this day. Predictably, ATLANTIC wanted a single, so the group remixed "Total Mass Retain" (including a sped-up version of the celestial intro}, also included here.
Excised from the greater whole, it realty didn't work on its own long YES pieces somehow aren't conducive to slicing and dicing.
In a sense, this album was progressive rock's peak, embraced by both consumers and critics.
YES had created a masterwork that was appreciated in its time, and stands today as what could arguably be the band's finest moment, even in the face of another upheaval in personnel and the winds of musical ambition.
Close to the edge, indeed.
- Mike Tiano
Mike Tiano is Project Manager for YES' Web site, YESWORLD and edits Notes From The Edge
(http://www.nfte.org),
the official YES Internet fanzine founded in 1990.
1. Close To The Edge
i. The Solid Time Of Change
A seasoned witch could call you from the depths of your disgrace,
And rearrange your liver to the solid mental grace,
And achieve it all with music that came quickly from afar,
Then taste the fruit of man recorded losing all against the hour.
And assessing points to nowhere, leading ev'ry single one.
A dewdrop can exalt us like the music of the sun,
And take away the plain in which we move,
And choose the course you're running.
Down at the edge, round by the corner,
Not right away, not right away.
Close to the edge, down by a river,
Not right away, not right away.
Crossed the line around the changes of the summer,
Reaching to call the color of the sky.
Passed around a moment clothed in mornings faster than we see.
Getting over all the time I had to worry,
Leaving all the changes far from far behind.
We relieve the tension only too find out the master's name.
Down at the end, round by the corner.
Close to the edge, just by a river.
Seasons will pass you by.
I get up, I get down.
Now that it's all over and done,
Now that you find, now that you're whole.
ii. Total Mass Retain
My eyes convinced, eclipsed with the younger moon attained with
love.
It changed as almost strained amidst clear manna from above.
I crucified my hate and held the word within my hand.
There's you, the time, the logic, or the reasons we don't
understand.
Sad courage claimed the victims standing still for all to see,
As armoured movers took approached to overlook the sea.
There since the cord, the license, or the reasons we understood will
be.
Down at the edge, close by a river.
Close to the edge, round by the corner.
Close to the end, down by the corner.
Down at the edge, round by the river.
Sudden problems shouldn't take away the startled memory.
All in all, the journey takes you all the way.
As apart from any reality that you've ever seen and known.
Guessing problems only to deceive the mention,
Passing paths that climb halfway into the void.
As we cross from side to side, we hear the total mass retain.
Down at the edge, round by the corner.
Close to the end, down by a river.
Seasons will pass you by.
I get up, I get down.
iii. I Get Up, I Get Down
In her white lace
You can clearly see the lady sadly looking.
Saying that she'd take the blame
For the crucifixion of her own domain.
I get up, I get down,
I get up, I get down.
Two million people barely satisfy.
Two hundred women watch one woman cry, too late.
The eyes of honesty can achieve.
How many millions do we deceive each day?
I get up, I get down.
I get up, I get down.
In charge of who is there in charge of me.
Do I look on blindly and say I see the way?
The truth is written all along the page.
How old will I be before I come of age for you?
I get up, I get down.
I get up, I get down.
I get up, I get down.
iv. Seasons Of Man
The time between the notes relates the color to the scenes.
A constant vogue of triumphs dislocate man, it seems.
And space between the focus shape ascend knowledge of love.
As song and chance develop time, lost social temp'rance rules above.
Ah, ah.
Then according to the man who showed his outstretched arm to space,
He turned around and pointed, revealing all the human race.
I shook my head and smiled a whisper, knowing all about the place.
On the hill we viewed the silence of the valley,
Called to witness cycles only of the past.
And we reach all this with movements in between the said remark.
Close to the edge, down by the river.
Down at the end, round by the corner.
Seasons will pass you by,
Now that it's all over and done,
Called to the seed, right to the sun.
Now that you find, now that you're whole.
Seasons will pass you by,
I get up, I get down.
I get up, I get down.
I get up, I get down.
I get up.
1. And You And I
- i. Cord Of Life
A man conceived a moment's answers to the dream.
Staying the flowers daily, sensing all the themes.
As a foundation left to create the spiral aim,
A movement regained and regarded both the same,
All complete in the sight of seeds of life with you.
Changed only for a sight of sound, the space agreed.
Between the picture of time behind the face of need,
Coming quickly to terms of all expression laid,
Emotion revealed as the ocean maid,
All complete in the sight of seeds of life with you.
Oh.
Coins and crosses
Turn round tailor, assaulting
Never know their fruitless worth;
all the mornings of the interest shown,
presenting one another to the cord,
cords are broken,
All left dying, rediscovered
Of the door that turned round,
locked inside the mother earth.
To close the cover, all the
interest shown,
They won't hide, hold, they won't tell you,
To turn one another, to the
sign at the time float your climb.
watching the world, watching all of the world,
watching us go by.
And you and I climb over the sea to the valley,
And you and I reached out for reasons to call.
ii. Eclipse
Coming quickly to terms of all expression laid,
Emotion revealed as the ocean maid,
As a movement regained and regarded both the same,
All complete in the side of seeds of life with you.
iii. The Preacher The Teacher
Sad preacher nailed upon the coloured door of time;
Insane teacher be there reminded of the rhyme.
There'll be no mutant enemy we shall certify;
Political ends, as sad remains, will die.
Reach out as forward tastes begin to enter you.
Ooh, ooh.
I listened hard but could not see
Life tempo change out and inside me.
The preacher trained in all to lose his name;
The teacher travels, asking to be shown the same.
In the end, we'll agree, we'll accept, we'll immortalise
That the truth of the man maturing in his eyes,
All complete in the sight of seeds of life with you.
Coming quickly to terms of all expression laid,
As a moment regained and regarded both the same,
Emotion revealed as the ocean maid,
A clearer future, morning, evening, nights with you.
iv. Apocalypse
And you and I climb, crossing the shapes of the morning.
And you and I reach over the sun for the river.
And you and I climb, clearer, towards the movement.
And you and I called over valleys of endless seas.
1. Siberian Khatru
Sing, bird of prey;
Beauty begins at the foot of you. Do you believe the manner?
Gold stainless nail,
Torn through the distance of man
As they regard the summit.
Even Siberia goes through the motions.
Hold out and hold up;
Hold down the window.
Outbound, river,
Hold out the morning that comes into view.
Bluetail, tailfly.
River running right on over my head.
How does she sing?
Who holds the ring? And ring and you will find me coming.
Cold reigning king,
Hold all the secrets from you
As they produce the movement.
Even Siberia goes through the motions.
Hold out and hold up;
Hold down the window.
Outbound, river,
Hold out the morning that comes into view.
Bluetail, tailfly.
River running right over the outboard, river,
Bluetail, tailfly,
Luther, in time.
Dood'ndoodit, dah, d't-d't-dah.
Hold down the window;
Hold out the morning that comes into view.
Warm side, the tower;
Green leaves reveal the heart spoken Khatru.
Gold stainless nail,
torn through the distance of man as they regard the summit.
Cold reigning king,
Shelter the women that sing
As they produce the movement.
River running right on over my head
Outboard, river.
Bluetail, tailfly,
Luther, in time,
Suntower, asking,
Cover, lover,
June cast, moon fast,
As one changes,
Heart gold, leaver,
Soul mark, mover,
Christian, changer,
Called out, saviour,
Moon gate, climber,
Turn round, glider.
4. America
Let us be lovers
We'll marry our fortunes together
I've got some real estate here in my bag
So we bought a pack of cigarettes
And Mrs. Wagner's pies
And walked off to look for America
"Kathy" I said
As we boarded a Greyhound to Pittsburgh
Michigan seems like a dream to me now
It took me four days to hitchhike from Saginaw
I've come to look for America
Laughing on the bus
Playing games with the faces
She said the man in the Gabardine suit
Was a spy
I said "Be careful, his bow tie is really a camera"
"Kathy, I'm lost" I said
Though I knew she was sleeping
I'm empty and aching and I don't know why
Counting the cars
On the New Jersey Turnpike
They've all come to look for America
All come to look for America
10. America
Let us be lovers
We'll marry our fortunes together
I've got some real estate here in my bag
So we bought a pack of cigarettes
And Mrs. Wagner's pies
And walked off to look for America
"Kathy" I said
As we boarded a Greyhound to Pittsburgh
Michigan seems like a dream to me now
It took me four days to hitchhike from Saginaw
I've come to look for America
Laughing on the bus
Playing games with the faces
She said the man in the Gabardine suit
Was a spy
I said "Be careful, his bow tie is really a camera"
"Kathy, I'm lost" I said
Though I knew she was sleeping
I'm empty and aching and I don't know why
Counting the cars
On the New Jersey Turnpike
They've all come to look for America
All come to look for America
2. And You And I 10'09
3. Siberian Khatru 9'01
Bonus Tracks
5. Total Mass Retain (Single version) 3'22
6. And You And I (Alternate version) 10'18
7. Siberia (Studio Run-Through of "Siberian Khatru")
Total Time: 65:03
All Arrangements by YES
Tapes: Mike Dunne
Sound Produced by Bill Inglot
Coordinator: Brian Lane
Photographs: Martin Adelman & Roger Dean
Cover: Roger Dean
Reissue Supervision: Steve Woolard & David McLees
Remastering: Dan Hersch & Bill Inglot at DIGIPREP
Product Manager: Marc Salata
Editorial Supervision: Cory Frye
Art Direction & Design: Greg Allen@gapd with Bryan Lasley
Photos: Roger Dean (under tray), Pieter Mazel / SUNSHINE / RETNA Ltd. (pg. 6 top), MICHAELOCHSARCHIVES.COM (pg. 15), Neal Preston (pg. 9 top right), Michael Putland / RETNA Ltd. (pgs. 4, 6 bottom & 9 top left) & RETNA Ltd. (pgs 2-3 & 9)
Project Assistance: Karen LeBlanc, Tim Scanlin, April Milek, Randy Perry, Leigh Hall, Ginger Dettman & Steven Chean
©2003 WARNER STRAT MARKETING WARNER MUSIC GROUP an AOL TIME WARNER COMPANY
Mike Tiano is Project Manager for YES' Web site, YESWORLD and edits Notes From The Edge
(http://www.nfte.org),
the official YES Internet fanzine founded in 1990.
ii. Total Mass Retain My eyes convinced, eclipsed with the younger moon attained with
iii. I Get Up, I Get Down In her white lace
iv. Seasons Of Man The time between the notes relates the color to the scenes.
A man conceived a moment's answers to the dream.
ii. Eclipse Coming quickly to terms of all expression laid,
iii. The Preacher The Teacher
Sad preacher nailed upon the coloured door of time;
iv. Apocalypse And you and I climb, crossing the shapes of the morning.
1. Close To The Edge
A seasoned witch could call you from the depths of your disgrace,
And rearrange your liver to the solid mental grace,
And achieve it all with music that came quickly from afar,
Then taste the fruit of man recorded losing all against the hour.
And assessing points to nowhere, leading ev'ry single one.
A dewdrop can exalt us like the music of the sun,
And take away the plain in which we move,
And choose the course you're running.
Down at the edge, round by the corner,
Not right away, not right away.
Close to the edge, down by a river,
Not right away, not right away.
Crossed the line around the changes of the summer,
Reaching to call the color of the sky.
Passed around a moment clothed in mornings faster than we see.
Getting over all the time I had to worry,
Leaving all the changes far from far behind.
We relieve the tension only too find out the master's name.
Down at the end, round by the corner.
Close to the edge, just by a river.
Seasons will pass you by.
I get up, I get down.
Now that it's all over and done,
Now that you find, now that you're whole.
love.
It changed as almost strained amidst clear manna from above.
I crucified my hate and held the word within my hand.
There's you, the time, the logic, or the reasons we don't
understand.
Sad courage claimed the victims standing still for all to see,
As armoured movers took approached to overlook the sea.
There since the cord, the license, or the reasons we understood will
be.
Down at the edge, close by a river.
Close to the edge, round by the corner.
Close to the end, down by the corner.
Down at the edge, round by the river.
Sudden problems shouldn't take away the startled memory.
All in all, the journey takes you all the way.
As apart from any reality that you've ever seen and known.
Guessing problems only to deceive the mention,
Passing paths that climb halfway into the void.
As we cross from side to side, we hear the total mass retain.
Down at the edge, round by the corner.
Close to the end, down by a river.
Seasons will pass you by.
I get up, I get down.
You can clearly see the lady sadly looking.
Saying that she'd take the blame
For the crucifixion of her own domain.
I get up, I get down,
I get up, I get down.
Two million people barely satisfy.
Two hundred women watch one woman cry, too late.
The eyes of honesty can achieve.
How many millions do we deceive each day?
I get up, I get down.
I get up, I get down.
In charge of who is there in charge of me.
Do I look on blindly and say I see the way?
The truth is written all along the page.
How old will I be before I come of age for you?
I get up, I get down.
I get up, I get down.
I get up, I get down.
A constant vogue of triumphs dislocate man, it seems.
And space between the focus shape ascend knowledge of love.
As song and chance develop time, lost social temp'rance rules above.
Ah, ah.
Then according to the man who showed his outstretched arm to space,
He turned around and pointed, revealing all the human race.
I shook my head and smiled a whisper, knowing all about the place.
On the hill we viewed the silence of the valley,
Called to witness cycles only of the past.
And we reach all this with movements in between the said remark.
Close to the edge, down by the river.
Down at the end, round by the corner.
Seasons will pass you by,
Now that it's all over and done,
Called to the seed, right to the sun.
Now that you find, now that you're whole.
Seasons will pass you by,
I get up, I get down.
I get up, I get down.
I get up, I get down.
I get up.
1. And You And I
Staying the flowers daily, sensing all the themes.
As a foundation left to create the spiral aim,
A movement regained and regarded both the same,
All complete in the sight of seeds of life with you.
Changed only for a sight of sound, the space agreed.
Between the picture of time behind the face of need,
Coming quickly to terms of all expression laid,
Emotion revealed as the ocean maid,
All complete in the sight of seeds of life with you.
Oh.
Coins and crosses
Turn round tailor, assaulting
Never know their fruitless worth;
all the mornings of the interest shown,
presenting one another to the cord,
cords are broken,
All left dying, rediscovered
Of the door that turned round,
locked inside the mother earth.
To close the cover, all the
interest shown,
They won't hide, hold, they won't tell you,
To turn one another, to the
sign at the time float your climb.
watching the world, watching all of the world,
watching us go by.
And you and I climb over the sea to the valley,
And you and I reached out for reasons to call.
Emotion revealed as the ocean maid,
As a movement regained and regarded both the same,
All complete in the side of seeds of life with you.
Insane teacher be there reminded of the rhyme.
There'll be no mutant enemy we shall certify;
Political ends, as sad remains, will die.
Reach out as forward tastes begin to enter you.
Ooh, ooh.
I listened hard but could not see
Life tempo change out and inside me.
The preacher trained in all to lose his name;
The teacher travels, asking to be shown the same.
In the end, we'll agree, we'll accept, we'll immortalise
That the truth of the man maturing in his eyes,
All complete in the sight of seeds of life with you.
Coming quickly to terms of all expression laid,
As a moment regained and regarded both the same,
Emotion revealed as the ocean maid,
A clearer future, morning, evening, nights with you.
And you and I reach over the sun for the river.
And you and I climb, clearer, towards the movement.
And you and I called over valleys of endless seas.
1. Siberian Khatru
Sing, bird of prey;
Beauty begins at the foot of you. Do you believe the manner?
Gold stainless nail,
Torn through the distance of man
As they regard the summit.
Even Siberia goes through the motions.
Hold out and hold up;
Hold down the window.
Outbound, river,
Hold out the morning that comes into view.
Bluetail, tailfly.
River running right on over my head.
How does she sing?
Who holds the ring? And ring and you will find me coming.
Cold reigning king,
Hold all the secrets from you
As they produce the movement.
Even Siberia goes through the motions.
Hold out and hold up;
Hold down the window.
Outbound, river,
Hold out the morning that comes into view.
Bluetail, tailfly.
River running right over the outboard, river,
Bluetail, tailfly,
Luther, in time.
Dood'ndoodit, dah, d't-d't-dah.
Hold down the window;
Hold out the morning that comes into view.
Warm side, the tower;
Green leaves reveal the heart spoken Khatru.
Gold stainless nail,
torn through the distance of man as they regard the summit.
Cold reigning king,
Shelter the women that sing
As they produce the movement.
River running right on over my head
Outboard, river.
Bluetail, tailfly,
Luther, in time,
Suntower, asking,
Cover, lover,
June cast, moon fast,
As one changes,
Heart gold, leaver,
Soul mark, mover,
Christian, changer,
Called out, saviour,
Moon gate, climber,
Turn round, glider.
4. America
Let us be lovers
We'll marry our fortunes together
I've got some real estate here in my bag
So we bought a pack of cigarettes
And Mrs. Wagner's pies
And walked off to look for America
"Kathy" I said
As we boarded a Greyhound to Pittsburgh
Michigan seems like a dream to me now
It took me four days to hitchhike from Saginaw
I've come to look for America
Laughing on the bus
Playing games with the faces
She said the man in the Gabardine suit
Was a spy
I said "Be careful, his bow tie is really a camera"
"Kathy, I'm lost" I said
Though I knew she was sleeping
I'm empty and aching and I don't know why
Counting the cars
On the New Jersey Turnpike
They've all come to look for America
All come to look for America
10. America
Let us be lovers
We'll marry our fortunes together
I've got some real estate here in my bag
So we bought a pack of cigarettes
And Mrs. Wagner's pies
And walked off to look for America
"Kathy" I said
As we boarded a Greyhound to Pittsburgh
Michigan seems like a dream to me now
It took me four days to hitchhike from Saginaw
I've come to look for America
Laughing on the bus
Playing games with the faces
She said the man in the Gabardine suit
Was a spy
I said "Be careful, his bow tie is really a camera"
"Kathy, I'm lost" I said
Though I knew she was sleeping
I'm empty and aching and I don't know why
Counting the cars
On the New Jersey Turnpike
They've all come to look for America
All come to look for America