Yes: Live at Knoxville Civic Auditorium (Rhino) | Under the Radar Magazine Under the Radar | Music Blog for the Indie Music Magazine
Thursday, December 7th, 2023  


Live at Knoxville Civic Auditorium


Jun 15, 2023 Web Exclusive Bookmark and Share

Close to the Edge was Yes’ magnum opus, the crowning achievement thus far in the band’s young career. Its predecessor, Fragile, released the year before, had “Roundabout” and “Long Distance Runaround,” but 1972’s Close to the Edge brought together everything that the band had been working toward, all in three monstrously epic tracks of multi-sectioned prog genius.

In 2015, Yes released Progeny: Seven Shows from Seventy-Two, which documented seven concerts from the year of the album’s release, in 14 CDs, and earlier this year it released these shows on vinyl on a whopping 21 colored LPs. But now, for those who want to experience the grandeur and sonic prog precision of these 1972 shows but might not want to shell out hundreds of dollars (or have the stamina to comb through all seven shows, all following the same setlist), Rhino has released Live at Knoxville Civic Auditorium.

Part of those seven illustrious shows, the Knoxville concert is the perfect way to capture Yes live in 1972. The band is in top form throughout. Sure, the aforementioned “Roundabout” is present (“Long Distance Runaround” is not), but two sides of the three LPs herein feature the “And You and I” and “Close to the Edge” suites, and Close to the Edge‘s other track, “Siberian Khatru” opens the show. “Mood for a Day” and “Heart of the Sunrise,” both from Fragile are featured, the former paired with Steve Howe’s instrumental, “The Clap.” And “I’ve Seen All Good People” and “Yours Is No Disgrace” from The Yes Album round out the proceedings.

In 1972, Yes was at the top of its game. Jon Anderson was in prime voice, and Steve Howe (guitar), Chris Squire (bass), Rick Wakeman (keyboards), and Alan White (drums) were absolute masters of prog musicianship and instrumental interplay. Concerts like this one in Knoxville prove that its collective genius was not relegated to the studio but in fact came together beautifully onstage as well. (

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