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124 of 130 people found the following review helpful:
5.0 out of 5 stars
Tales Revisited, March 29, 2004
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.
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182 of 204 people found the following review helpful:
5.0 out of 5 stars
Deep, Mystical, Elevating: One of My Favorites, October 3, 2003
Pompous. Overblown. Indulgent. Long-Winded. Yes (pun excusable), folks, you've heard all of these, and possible other derogatory words hurled by critics and detractors at this momentous project. Yes, and this album above all, continue to be attacked for their cosmic, ethereal, searching, ambitious material. But, shouldn't many of you be saying the same thing about Wagner and his lengthy, weighty and dramatic operas (one of which it's full-cycle extends to around 15 hours in length)? Or how about Mahler, and his ambitious symphonies - some of which last, more or less, around the 100-minute mark. How about Mozart, Beethoven, Haydn and Stravinsky? The list could go on, and on, and on. There is nothing wrong with ambition and originality - bands like Yes, Emerson, Lake & Palmer, The Moody Blues, Jethro Tull and several other classic progressive rock bands tried to break new ground in popular music by fusing the otherworldly art, drama, depth, imagination and ambition of classical music with rock. It was all about the "progress" of rock. For the most part, these bands succeeded in breaking new ground, and influenced many artists that followed.
Which brings us to TALES FROM THE TOPOGRAPHIC OCEANS (1973) -- an album that (to me) is one of the most unique, transcendent, ethereal and spiritual records I've ever heard. The material on this album I can't recall hearing on any other Yes album, the melodies, the instrumentation, the vocal harmonies, the otherworldliness -- the whole album has such an intangible, indescribable aura, which sends me to a higher plane everytime I listen to it. Hell, I can't listen to this album too often, as it's such an overwhelmingly intense experience, I'm left feeling it's aftereffects for long periods of time.
The album is based around a footnote of some shastric scriptures that lead singer Jon Anderson happened to stumble upon one day. As a result, many will dismiss the lyrics as gibberish, although I get the impression that Jon Anderson (and guitarist Steve Howe) were trying to paint pictures with words, as opposed to writing lyrics with the sole intention of facilitating logical comprehension. And remember, the unique and "out-there" factors were at their highest throughout the 60s and 70s.
I'm afraid that I cannot offer much deeper insight into the tracks, as I'll more than likely fail to convey my personal feelings toward this album any better, or more lucid, than what was described above.
Critics and detractors of cosmic, dramatic, deep, esoteric and original material will knock this album until the moon turns green - well, you get the point (aside from a few meandering moments here and there, the critics' musings are particularly disposable), but remember these things:
(1). On many occasions, most listeners tend to unwittingly follow what critics say, without deciding for themselves what they think of a given subject. They will take what critics say as their own, and flaunt it as if it were a symbol of national pride (e.g. a flag - forgive the analogy.) They generally follow the rule of persuasion and/or what seems to be the product (e.g. the critics' writings) of high prestige, as do many people. Sure, some critics have a degree in journalism, and/or whatever have you, and they may be able to write very eloquently. But, that *still* doesn't necessarily make them any better or smarter than anyone else. To be frank, I think they are basically some of the biggest morons on the face of this planet, and the general public are made to be even bigger morons for having repeated what these folks have said without much of their own thoughts and responses added to the table. Industry writers are only selling you on their personal opinions, which for the most part are subjective, but more importantly, not often well thought-out or researched. Hell, I don't claim to be better than anybody, regardless of how well I can, or can't write. I, like everyone else, am just expressing my feelings about something that has had a tremendous effect on me. Keep in mind that I am *not* saying that anyone who dislikes this album is an idiot; hardly. But, I do think it's silly to do nothing more than repeat the cliches and statements of some industry-writer (or anyone for that matter), without investing your own thoughts and responses into the process; whether they are similar or dissimilar to those of industry-writers and such.
(2). Youngsters of this generation - some of your favorite bands like Tool, Black Sabbath, and Iron Maiden have all acknowledged Yes as one of their influences. So before you go back to Yes-bashing, just remember that some of the *cool* artists that you love--the artists you claim changed your life; of whom you worship--share those same exact sentiments about Yes and possible other *prog* dreck. Perhaps some of you need to overcome your ignorance, and exercise a little more thoroughness and care in your observations. Don't be surprised if more of your favorite artists revere Yes.
I personally feel blessed to have come across a work like this. They don't make albums like these too often.
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32 of 32 people found the following review helpful:
5.0 out of 5 stars
Finally a listenable version of Tales, September 14, 2003
By A Customer
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!
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