Tales From Topographic Oceans [Original recording reissued, Original recording remastered, Extra tracks]

Yes | Format: Audio CD

Product Details

• Audio CD (August 26, 2003)
• Original Release Date: 1974
• Number of Discs: 2
• Format: Original recording reissued, Original recording remastered, Extra tracks
• Label: Rhino/Elektra
• ASIN: B00007LTIA
• Also Available in: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Music
• Average Customer Review: 4.2 out of 5 stars  See all reviews (381 customer reviews)
• Amazon Best Sellers Rank: #8,174 in Music (See Top 100 in Music)

Track Listings

Disc: 1

1. The Revealing Science Of God Dance Of The Dawn

2. The Remembering High The Memory

3. The Ancient Giants Under The Sun

Disc: 2

1. Ritual Nous Sommes Du Soleil

2. Dance Of The Dawn (Studio Run-Through)

3. Giants Under The Sun (Studio Run-Through)

Editorial Reviews

2-CD set with two bonus tracks: previously unreleased studio run-throughs of Dance of the Dawn and Giants Under the Sun !

Most Helpful Customer Reviews

222 of 237 people found the following review helpful

5.0 out of 5 stars Tales Revisited March 29, 2004

By Lonnie E. Holder HALL OF FAMETOP 500 REVIEWERVINE™ VOICE

Format:Audio CD

I reviewed the original version of "Tales from Topographic Oceans" back in October 2002. More recently I purchased this expanded two CD version from Rhino that includes not only the original four tracks, but a studio run-through of "Dance of the Dawn" and "Giants Under the Sun." Jon Anderson's vocals sound a bit thready and weak in the studio run-through, and the harmonies have yet to be added, yet, there is a certain charm to these run-throughs and the music is powerful.

"Tales" is a deeply philosophical album that is not for the meditative faint of heart. While much music is created to be toe-tapping and easy to sing to, "Tales" is in that genre usually called progressive rock, in a sub-genre that requires intense analysis to understand. The result is an album that is inaccessible and incomprehensible to a casual listener. In order to understand this music you must read the lyrics and listen, and listen, and then listen some more. Even then you might fail to gain a glimmer of Yes' intent.

"Tales from Topographic Oceans" would have to qualify as one of the most if not the most deeply complicated rock music ever created. Again, if you are a casual listener the complexity of the music can be frustrating or boring. However, if you consider that classical music is often complex, and to be understood requires extended focused listening, it should be of little surprise that Yes took that complexity for its own in the development of this music, creating a symphony in four movements.

The first movement is titled "The Revealing Science of God: Dance of the Dawn". The lyrics have no meaning, and they also have meaning. Confusing? Oh yeah. Understand that the point of the movement is to get the listener to realize that there are bits and pieces of knowledge, and understanding is something that rarely, if ever, comes all at once. Jon Anderson uses the sound of the words to create an almost subliminal meaning. The whole point is that you are to realize that we do not understand, but we have to keep trying to understand. Also, when you find meaning, know that you found it within yourself.

The second movement is "The Remembering: High the Memory". This song is about the breadth of knowledge that is available to humankind and to any one individual. However, the song is also trying to say that while that knowledge is available, each of us can only access that knowledge when it becomes a part of our personal knowledge, and more than just having it as personal knowledge, it must be accessible and understood to be useful. Another way of saying this is that we have realms of knowledge that are potentially available to each of us. However, only that knowledge which we personally understand and can access will be of any value to us.

The third movement is "The Ancient: Giants under the Sun". The concept of this song is relatively simple compared to the first two movements. This song pushes through the envelope of recorded time to access forgotten knowledge from civilizations that came before. While the song is relatively easy to understand, the music is more interwoven and complex, and intertwines elements that are intended to evoke those earlier cultures. Therefore, the instruments flavor this movement with musical elements from around the globe to help give the feeling that the song of our knowledge is made up of many parts from many people. While the music sounds relatively simple, it is as technically detailed and complex as any concerto or symphony I can recall. While Steve Howe's guitar may be pivotal in this song according to Jon Anderson, Rick Wakeman's keyboards are essential to the ethnicity of the various portions of the music. This track is an incredible composition. This movement adds to the seeking of the first movement and the understanding of the second movement that there is knowledge yet available to be discovered from all cultures and civilizations that may no longer exist, but that understanding is still available if we know where and how to look for it.

The fourth and final movement is "Ritual: Nous Sommes Du Soleil". This composition is relatively accessible philosophically because it is a description of the human condition. This piece is intended to communicate that we have the ability to seek knowledge and understanding. Part of that knowledge and understanding is the constant struggle between good and evil, and how that struggle plays a part of how we view that knowledge. However, this piece also reinforces the earlier movements in that we have the ability learn and to understand granted by a higher power.

I've read that Rick Wakeman complained that there was too much filler in this composition. I suppose that could be said of many of the classical compositions by Beethoven, Tchaikovsky, Bach, and on and on. However, I've also read that Steve Howe thought that this was some of his best work ever. This work is magnificent in conception and scope. It is not readily accessible to the casual listener. The very best way to understand this music is to get a bottle of really good wine, sit in the middle of the room in a recliner, turn out most or all of the lights, and listen and feel. Start by paying attention to the emotion and feeling of the words, because that was the intent of the lyrics. Once you begin to understand what was intended, then this work becomes accessible. It is one of the most incredibly complex pieces of music I've ever heard, and I have listened to everything from classical to death metal. This music isn't for everyone, but those who can get into it, it is fantastic.

65 of 67 people found the following review helpful

5.0 out of 5 stars Finally a listenable version of Tales September 14, 2003

By A Customer

Format:Audio CD

This album is arguably the all time "whipping boy" of progressive rock. Hardcore Yes fans tend to love it and others tend to hate it. Also, due to its length and opulent title/artwork it falls prey to a multitude of Spinaltap-esque jokes.

Personally, I love it. Always have. I've owned this on vinyl and now 2 CD masters. This is the FIRST version that I've heard that actually sounds good. Its miraculous what Rhino have done with this. You can actually hear parts on here that were completely lost in the muddiness of previous masters.

I've always thought this was strong musically, but some will disagree. If you've already decided you hate this album, you might consider giving it a second shot with this master.

The ONLY complaint other than it taking 30 years to have this work properly mastered is that the artwork, while good for a CD remaster - is, well, its the size of a CD obviously. This cover is one of the strongest that Roger Dean did for Yes and it was meant to go on an album obviously - and BIG. I remember this hippy chick I knew bringing this over to the house with about 20 other records back in the 70's. This cover and Anderson's Olias album were two of the wildest things I think I'd ever seen!

99 of 105 people found the following review helpful

5.0 out of 5 stars Mystical and beautiful. March 18, 2001

By Lord Chimp

Format:Audio CD

I can imagine the time when this album first came out. Yes fans must have praised the album for its daring, its ingenuity, its LENGTH. Now I can imagine things ten years later, with rock critics ridiculing the album for everything from its mystic lyrics, pompous songwriting, indulgent musicianship... everything for which progressive rock has been derided. Even Yes' diehard fans have decidedly mixed feelings regarding this epic work. To them, it could be the pinnacle achievement of Yes' estimable career, or it could the be the most grandiloquent album EVER.

Time and time again I've tried to empathize with those who dislike this album, thinking that perhaps their criticisms have some merit. Still, I can't get over the fact that this is truly excellent work. I think the music is simply sublime, many of the most wonderful passages that Yes ever recorded. Not as cohesive as the epics on "Close to the Edge" (still my favorite Yes album), but certainly more dynamic, it takes countless listens to fully appreciate. Even 25 years after its release, I'm still finding new elements to this richly absorbing work.

It's all anchored by that awesome rhythm section of Alan White's drums and Chris Squire's mammoth bass guitar, while Wakeman's lush synthesizers add ambiance and depth, and Steve Howe's guitar artistry is sophisticated and engaging. Jon Anderson's trippy lyrics and soulful, radiant singing are topnotch. Although the lyrics are mostly confusing, I believe their meanings are meant to be vague. They rely on surreal and romantic imagery to generate feeling in the listener in musical context. It doesn't really matter because the lyrics attain an emotional connection regardless of what they are actually about. I've always believed that Yes' individual elements are impressive, but less important than the unified result of their efforts.

The songs could enjoin a complete review for each one, as each song is brimming with depth and complexity. "The Revealing Science of God" is absolutely spellbinding. From the moment you hear the unmistakable thematic development in the vocal section at the beginning, you know it's going to be something great. A mostly placid epic that occasionally drives into fast-paced energy. Approaching the song's finale, this one climaxes with a mind-bending solo from Wakeman. Cryptic lyrics focused on metaphysical objective values (I think; who really knows?) are tied some of the group's best arrangements.

"The Remembering" is a standout for Rick Wakeman. There's moments of fierce swirling synths and mellotrons, and him and Howe alternately repeat the song's main theme on different instruments. Lots of memorable melodies here, and the song gets pretty intense at times (like the "Relayer" passages).

"The Ancient" is the most difficult song to appreciate. Because most of the vocals are relegated to the ending of this 18-minute beast, its heavy focus on abstruse instrumentation bores many people. I can't help but be captivated, however. I'm a huge fan of music that implements Eastern influences, and this track is filled with them. Dominantly Middle Eastern, the band shows incredible versatility in their endeavor to underscore the idiosyncratic beauties of these cultures. Towards the end of the song, Howe's acoustic wizardry is displayed. Awesome!

"Ritual" is a sprawling piece that is very symphonic at times. A lengthy instrumental passage opens this one, and just when you think the track is starting to meander, it gets back on track. This one never gets too pretentious, and it's beautifully melodic and excitingly played and arranged. At the 15-minute mark, there's this unforgettable orchestral interlude with devastating percussion and harrowing strings (synthed, of course). The ending is gorgeous, with clean electric guitar/piano interplay and Anderson's delicate vocals.

Like complex jazz, some of Yes' music is far too esoteric to be appreciated by everyone. That's perfectly fine. I don't consider myself intellectually superior to the many who have no taste for this admittedly convoluted work of music. Still, it moves me, it engrosses me, and it never bores me. It may not tap the conventional spirit of music, but to me, that's part of what makes it special. I wouldn't want it any other way.

(If I've bored you, blame no one but yourself. You read the whole review, so it's your own damn fault! ;-)