Multiple choice test:
1. The 1974 release of the album "Tales From Topographic Oceans" by the British art rock group "Yes" was:
A) an ambitious and daring attempt to fuse classical and rock musical concepts into a massive rock symphony.
B) a bloated, pretentious, and self-indulgent test of a listener's patience, exploding in dozens of incoherent directions.
C) the musical inspiration for much of the 1984 mocumentary film "This Is Spinal Tap".
D) All of the above.
Answer: D
There is really no other album to compare with "Tales From Topographic Oceans" I am not aware of anyone producing an 80-minute long, four-track album that attempts single-handedly to simultaneously unite the energy of rock with the scope and structure of a classical symphony AND contemplate man's place in The Universe. It is as impossible task, which TFTO ultimately fails to bring off. Yet in its missing of that mark it still manages to create some beautiful musical moments and grand fusions of words and melody. Dissecting the title of the album gives a good idea of what's inside.
At first glance "Tales From Topographic Oceans" seems to be a non-sequitur at best, and nonsense most likely. Oceans don't HAVE topography, right? Until you think about it. Sure oceans are topographic, only the topography is hidden under the surface. Were the members of Yes really thinking that deeply when they entitled their work, or did they just choose words that sounded good and accidentally came up with a title that caught the soul of their concept? Since most of the lyrics of TFTO read like Vogon poetry I incline toward the latter, but I can't dismiss the possibility of lurking brilliance.
Musically "Tales" resembles a classical symphony composed of four long movements which are thematically linked but contrasting in musical style. The first movement, "The Revealing Science of God / Dance of the Dawn is best described as a rhapsody; a flowing sequence of interlocking melodies. The second movement "The Remembering / High the Memory" is most like a sonata, with an opening theme, second theme, development, and the recapitulation of the opening. The third movement "The Ancient / Giants Under the Sun" is a scherzo; fast-paced, rambunctious and free-form. The finale, "The Ritual / Nous Sommnes Do Soleil" is a gentle love song which unifies the whole piece by incorporating recaps of themes from the other movements into its structure. This is not music for casual listening. It must be studied and the melodies must be learned well enough to recognize when they appear again in different contexts to appreciate it fully. That is not all that difficult because many of these melodies are very memorable.
Indeed, several of the themes in the each of the four movements of TFTO are so catchy that they will stay with you for days. The first movement begins with white noise which resolves into notes, which evolve into melody, which builds to the addition of vocals. The chanted vocals first add inflection, then harmony, then more instruments joining into a growing wave of sound, which eventually crashes into an explosion of percussion and melody that leads into the first section of the rhapsody. Without explicitly stating what it is doing, the music takes the listener from the formation of The Earth to The Rise of Spiritual Man. All done in 3 ½ minutes! The opening crescendo of TFTO grabbed me when I first listened to it in 1974 and I've never forgotten it. Other melodies like "What happened to this song" and "Getting over overhanging trees" from the first movement, "Stand on hills of long forgotten yesterdays" from the second, "along without you" in the third, and Nous sommnes do soleil" in the finale are instantly full of hooks that you'll find yourself humming to yourself long after listening if you're not careful. I recently introduced TFTO to my 21-year old son and accidentally started with the run-through version of the first movement before switching to the album version. He remarked at how on one partial listening he realized he was remembering the themes on only the second listening. OK, so that's answer A from our multiple-choice test.
Answer B speaks to the frustrating failures included in TFTO. Many of the downfalls inherent in TFTO come from the ambition of composing such a large work. While there are unquestionably some great musical concepts that went into TFTO, there just weren't enough to fill four movements and 80-minutes of playing time. These flaws appear in the auditory whiplash-inducing transitions between musical styles of the various themes. The first movement alone makes 10 abrupt changes of direction. The first one at the end of the aforementioned crescendo is a natural progression that the listener can feel coming as the music builds. The other nine? Not so much. In the best cases the encroaching theme begins in the background and fades in as its predecessor fades out. In others, the next idea just jumps in from one measure to the next. Another big problem is that not all of the ideas in TFTO are equally viable. Some are simply filler to pad the tracks out 20-minutes. Others are utter musical failures that don't so much fall flat as fart. This is especially evident in the third movement when at about the 8 ½ minute mark the band devolves into a meandering jazz improvisation that drags on for four minutes. The attempt to glue the wheels back on by segueing into a four-minute classical guitar solo doesn't really get the movement back on track. In fact, the third movement of TFTO is why God gave us the next track button on our playback devices. The final problem is the nonsense lyrics throughout the album. While there are several moments where words and music come together in glimpses of brilliance, for the most part trying to parse out the lyrics is like listening to a conversation in a language in which you have incomplete fluency. The meaning seems to be out there just beyond the point of comprehension, but ultimately just isn't there to begin with.
Finally, one cannot leave a discussion of TFTO without recognizing its connection with "This is Spinal Tap". Some of the most hilarious scenes in the movie could be directly lifted from "Tales". Specifically the "Stonehenge" section of the film could have been replaced by a performance of parts of "Giants Under the Sun". The scene near the end of the film after Nigel has left the band and the remaining members have to sift through the best-forgotten parts of their repertoire also comes to mind. They end up with psycho-jazz that may actually BE a part of the third movement of TFTO. The idea of a rock band attempting to play material that is so far over their heads both musically and intellectually is one of the best parts of "Spinal Tap". Realizing that these gags are part of a massive in-joke that refers back to "Tales From Topographic Oceans" enhances my enjoyment of both the movie and the album. If ever there was a rock album asking to be satirized it is TFTO. Sure, the album is bloated and pretentious, but that's part of its charm. Being able to laugh at it ultimately helps me to understand it.
So, what's the final grade on our little test? I first listened to TFTO as a teenager in Southern Kentucky close enough to Nashville to hear the steel guitars twanging from my back yard. Listening to this record was a revelation. It was the first piece of music that I consciously studied in order to wrap my mind around it. I wore out the vinyl years ago, and when it came time to switch to CD my tastes had changed to the point where I never replaced the record. Recently I stumbled back across "Tales" in a chat room and wondered if my fond memories of it were more than youthful enthusiasm for something new and different. In re-acquainting myself with TFTO in 2013, I can say that much of the early affection for the record was not misplaced. In listening now with a more educated ear and broader experience I can see a lot of the flaws in the stone that I couldn't have understood then nor legitimately criticized. What I can say now that despite the flaws, "Tales From Topographic Oceans" is still a diamond and for that it has once again become one of my favorite recordings nearly 40 years after my first hearing.
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Page 1 of 1Page 1 of 1
Track Listings
Disc: 1
| 1 | The Revealing Science of God: The Dance of the Dawn |
| 2 | The Remembering: High the Memory |
Disc: 2
| 1 | The Ancient: Giants Under the Sun |
| 2 | Ritual: Now Sommes Du Soleil |
Editorial Reviews
YES TALES FROM THE TOPOGRAPHIC OCEAN
Product details
- Is Discontinued By Manufacturer : No
- Language : English
- Product Dimensions : 4.92 x 5.51 x 0.39 inches; 2.72 Ounces
- Manufacturer : Atlantic
- Original Release Date : 1994
- Date First Available : December 27, 2006
- Label : Atlantic
- ASIN : B000002J20
- Country of Origin : USA
- Number of discs : 2
- Best Sellers Rank: #303,329 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #5,146 in Progressive Rock
- #186,767 in Pop (CDs & Vinyl)
- Customer Reviews:
Customer reviews
4.6 out of 5 stars
4.6 out of 5
1,169 global ratings
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Reviewed in the United States on June 13, 2013
Reviewed in the United States on August 14, 2011
Yes' sixth studio album entitled Tales From Topographic Oceans was released in December of 1973 in the UK and in January of 1974 here in the United States.
By 1973, the British progressive rock quintet Yes (which by then comprised of singer/songwriter Jon Anderson, bass player Chris Squire, guitarist Steve Howe, keyboard player Rick Wakeman and newer drummer Alan White) were one of the biggest British rock bands in the States (only rivaling Led Zeppelin, Jethro Tull, Emerson Lake and Palmer, The Who, The Rolling Stones and Pink Floyd (who finally became superstars in 1973 with The Dark Side of the Moon)) as Yes' last four albums (1971's Top 40 charting The Yes Album, the double whammy from 1972 which was the Top 5 masterpiece Fragile and the Top 3 classic Close to the Edge and the triple live Top 20 charting disc from earlier in 1973 called Yessongs) had all been million sellers and the group had gone from playing theaters to sports arenas. When it came time for Yes and producer Eddie Offord to come up with a studio follow-up to Close to the Edge (and Alan White's first studio album with the band), the group decided to take the Close to the Edge approach ONE STEP FURTHER by having a double album which consisted of only FOUR SIDE LENGTH 20 PLUS MINUTE PIECES. Also, they wanted to record it out in the country but in the end decided on Morgan Studios (where Pink Floyd did much of Meddle and mixed Obscured by Clouds and Black Sabbath recorded Sabbath Bloody Sabbath) but had the studio decorated with toy cows, toy horses, hay bales and so forth. When Topographic Oceans did emerge, would the album either make Yes fans embrace the band more or drive those who wanted another Fragile and Close to the Edge away? Read on and find out (as I did when I first got a used cassette copy and eventually CD version of this classic in November of 1996).
The first epic (which was Side 1 of the original record) was "The Revealing Science of God (Dance of the Dawn)". On this remastered CD released in 2003, you get a 2 plus minute intro which was not on the original vinyl record (due to time constraints) which serves as a superb mood setter for this classic with collage of guitars and keyboards. Then Anderson, Squire and Howe's voices come in. Then the music comes in and a major epic is what's in store with various different movements that doesn't bore you for 22 minutes and I think the lyrics came from Anderson's desire to silence critics who said "Yes would put the Bible to music". Mission accomplished! The piece would end like it begin with the chanting in a quiet tone.
Track two of this double CD (which was Side Two of the original record) is taken up by the 20 minute epic "The Remembering (High the Memory)". This epic is about the wealth of knowledge that's available to humanity. Also that knowledge is important. The music on this suite is some of the band's best playing on any Yes album ever made (before and since).
The third and final track on CD 1 (which was Side 3 of the original LP and first song of original and 1994 CD remaster) is "The Ancient (Giants under the Sun)". This epic begins with wild percussion and steel guitar before going into another home run of a suite which tells of some of the forgotten knowledge from civilizations that came before us. While Wakeman and Anderson help make this piece great, Howe's guitar shines here, especially when it comes to the classical guitar solo which he would later utilize in concert solos in later years with Yes.
CD 2 of this new remaster (and took up Side 4 of the original album and last song on the original CD and 1994 remastered CD) is the epic "Ritual (Nous Sommes Du Soleil)". The lyrics describe aspects of the human condition while musically is one of the greatest things I ever heard. By the middle of the song, it gives way to a bass guitar led jam by Squire (who proves why he is one of the greatest bass players in all of rock). Then it stops dead and goes into a tribal drum solo by White, Squire, Anderson (with odd help from Howe) and keyboard effects by Wakeman that sounds like a sacrifice going on and ends majestically with Howe's guitar coming back and ending in a nice relaxed manner.
Despite the fact that Rick Wakeman didn't like much of this album (and he would quit the band after the Topographic Tour in Spring 1974 for over two and a half years), Steve Howe (on the other hand) thought the album was some of his best work ever as did Jon Anderson.
Also the public agreed (as do I) that Tales From Topographic Oceans was an excellent album. The album reached #1 in the band's native UK and a positive #9 here in the States and going Gold almost immediately.
In late 2003, the album was re-released as a 2-CD remaster (Sides 1, 2 and 3 on CD 1 and CD 2 is Side 4 with bonus tracks). The bonus tracks here are of early versions of "The Revealing Science of God" and "The Ancient" which is great to hear work-in-progress versions of two epics that would make key parts of this album. Plus you get a booklet which comes with story on how the album was made plus photos, lyrics and credits.
RECOMMENDED!
By 1973, the British progressive rock quintet Yes (which by then comprised of singer/songwriter Jon Anderson, bass player Chris Squire, guitarist Steve Howe, keyboard player Rick Wakeman and newer drummer Alan White) were one of the biggest British rock bands in the States (only rivaling Led Zeppelin, Jethro Tull, Emerson Lake and Palmer, The Who, The Rolling Stones and Pink Floyd (who finally became superstars in 1973 with The Dark Side of the Moon)) as Yes' last four albums (1971's Top 40 charting The Yes Album, the double whammy from 1972 which was the Top 5 masterpiece Fragile and the Top 3 classic Close to the Edge and the triple live Top 20 charting disc from earlier in 1973 called Yessongs) had all been million sellers and the group had gone from playing theaters to sports arenas. When it came time for Yes and producer Eddie Offord to come up with a studio follow-up to Close to the Edge (and Alan White's first studio album with the band), the group decided to take the Close to the Edge approach ONE STEP FURTHER by having a double album which consisted of only FOUR SIDE LENGTH 20 PLUS MINUTE PIECES. Also, they wanted to record it out in the country but in the end decided on Morgan Studios (where Pink Floyd did much of Meddle and mixed Obscured by Clouds and Black Sabbath recorded Sabbath Bloody Sabbath) but had the studio decorated with toy cows, toy horses, hay bales and so forth. When Topographic Oceans did emerge, would the album either make Yes fans embrace the band more or drive those who wanted another Fragile and Close to the Edge away? Read on and find out (as I did when I first got a used cassette copy and eventually CD version of this classic in November of 1996).
The first epic (which was Side 1 of the original record) was "The Revealing Science of God (Dance of the Dawn)". On this remastered CD released in 2003, you get a 2 plus minute intro which was not on the original vinyl record (due to time constraints) which serves as a superb mood setter for this classic with collage of guitars and keyboards. Then Anderson, Squire and Howe's voices come in. Then the music comes in and a major epic is what's in store with various different movements that doesn't bore you for 22 minutes and I think the lyrics came from Anderson's desire to silence critics who said "Yes would put the Bible to music". Mission accomplished! The piece would end like it begin with the chanting in a quiet tone.
Track two of this double CD (which was Side Two of the original record) is taken up by the 20 minute epic "The Remembering (High the Memory)". This epic is about the wealth of knowledge that's available to humanity. Also that knowledge is important. The music on this suite is some of the band's best playing on any Yes album ever made (before and since).
The third and final track on CD 1 (which was Side 3 of the original LP and first song of original and 1994 CD remaster) is "The Ancient (Giants under the Sun)". This epic begins with wild percussion and steel guitar before going into another home run of a suite which tells of some of the forgotten knowledge from civilizations that came before us. While Wakeman and Anderson help make this piece great, Howe's guitar shines here, especially when it comes to the classical guitar solo which he would later utilize in concert solos in later years with Yes.
CD 2 of this new remaster (and took up Side 4 of the original album and last song on the original CD and 1994 remastered CD) is the epic "Ritual (Nous Sommes Du Soleil)". The lyrics describe aspects of the human condition while musically is one of the greatest things I ever heard. By the middle of the song, it gives way to a bass guitar led jam by Squire (who proves why he is one of the greatest bass players in all of rock). Then it stops dead and goes into a tribal drum solo by White, Squire, Anderson (with odd help from Howe) and keyboard effects by Wakeman that sounds like a sacrifice going on and ends majestically with Howe's guitar coming back and ending in a nice relaxed manner.
Despite the fact that Rick Wakeman didn't like much of this album (and he would quit the band after the Topographic Tour in Spring 1974 for over two and a half years), Steve Howe (on the other hand) thought the album was some of his best work ever as did Jon Anderson.
Also the public agreed (as do I) that Tales From Topographic Oceans was an excellent album. The album reached #1 in the band's native UK and a positive #9 here in the States and going Gold almost immediately.
In late 2003, the album was re-released as a 2-CD remaster (Sides 1, 2 and 3 on CD 1 and CD 2 is Side 4 with bonus tracks). The bonus tracks here are of early versions of "The Revealing Science of God" and "The Ancient" which is great to hear work-in-progress versions of two epics that would make key parts of this album. Plus you get a booklet which comes with story on how the album was made plus photos, lyrics and credits.
RECOMMENDED!
Top reviews from other countries
Angel
5.0 out of 5 stars
Muy recomendable.
Reviewed in Mexico on February 18, 2021
Obra extraordinaria de Yes. Desde 1973.
Angel
Reviewed in Mexico on February 18, 2021
Images in this review
Cliente de Amazon
5.0 out of 5 stars
Yes - Tales From Topographic Oceans (Vinyl).
Reviewed in Mexico on March 18, 2018
Muy buena calidad de sonido en el vinilo y funda gatefold como la edición original (un poco delgada pero aceptable), buena compra.
ds
4.0 out of 5 stars
per gli amanti del prog
Reviewed in Italy on April 21, 2022
Doppio LP acquistato ad un ottimo prezzo. Si sente bene.
Consigliatissimo per chi - come me - è stato adolescente negli anni Settanta. Anzi, allora lo trovavo un pò noioso e prolisso. Invece ora che ho superato i Sessanta di età e - nel frattempo - ascoltato anche musica classica e jazz l'ho rivalutato di molto. Oltretutto sono dei musicisti molto bravi.
La confezione lascia a desiderare (la colomba Motta di questi giorni ha il cartone più spesso) e le buste interne sono molto "cheap". Quasi carta velina...
Onestamente non capisco questa taccagneria: chi acquista un vinile lo fa anche per il "packaging" e lo spende un euro in più. Mah...
Saluti a tutti
Consigliatissimo per chi - come me - è stato adolescente negli anni Settanta. Anzi, allora lo trovavo un pò noioso e prolisso. Invece ora che ho superato i Sessanta di età e - nel frattempo - ascoltato anche musica classica e jazz l'ho rivalutato di molto. Oltretutto sono dei musicisti molto bravi.
La confezione lascia a desiderare (la colomba Motta di questi giorni ha il cartone più spesso) e le buste interne sono molto "cheap". Quasi carta velina...
Onestamente non capisco questa taccagneria: chi acquista un vinile lo fa anche per il "packaging" e lo spende un euro in più. Mah...
Saluti a tutti
high end
5.0 out of 5 stars
eine riesige Kreativ-Fundgrube
Reviewed in Germany on September 28, 2015
Als Yes 1974 "Tales From Topographic Oceans" auf dem Markt warfen,spaltete es die Hörerschaft und Kritiker umgehend auf extreme,geradezu unversöhnliche Weise.
Für viele ist es das Meisterwerk der Band und des Progressive Rock schlechthin,während es für viele an sich selbst scheitert.
TFTO wurde als Doppel-LP bei Atlantic Records veröffentlicht und war ganz offiziell als Riesen-Projekt mit großem Anspruch angelegt;es sollte alles bisherige sprengen und das zuvor erschienene Meisterwerk "Close To The Edge" in allen Belangen übertrumpfen.
Was Jon Anderson,Steve Howe,Chris Squire,Rick Wakeman und Alan White hier auf die Beine stellten,kann man getrost als riesige Fundgrube der Kreativität bezeichnen,ob man das Endergebnis nun als gelungen ansieht oder nicht.
Die vier Tracks darf man ohne Übertreibung als ausufernd beschreiben;die Musiker hatten Freiraum zur Verfügung,konnten zeigen,was sie auf ihren Instrumenten so alles konnten.
Für viele hätte man das Album straffen können/müssen,wirkt das Album in die Länge gezogen,mit Banalitäten gestreckt.
Für Vertreter der Gegenmeinung darf kein Ton fehlen,ist das Album einfach perfekt,ein in sich geschlossenes Universum,in dem jedes Detail seinen Zweck erfüllt.
Skeptikern wurde und wird gerne vorgeworfen,die Musik schlicht "nicht zu verstehen",während diese den Begeisterten ein Hereinfallen auf eine gigantische Luftblase,auf "Des Kaisers Neue Kleider" unterstellen.
Tatsächlich ging es bei den Aufnahmen wohl recht chaotisch zu,war phasenweise Frustration bei einigen Musikern vorhanden,waren elementare Meinungsverschiedenheiten an der Tagesordnung;ein Klima,in dem Meisterwerke,aber auch unausgegorenes Zeug entstehen können.
Ob das Album nun überambitioniert,zu ausufernd,in seiner technischen Perfektion zu selbstverliebt,zu komplex,zu abgehoben wirkt,sei mal dahingestellt;auf jeden Fall quillt es über vor Ideen,Anspruch,Abwechslung...und stellt etwas dar,das es so noch nicht gab,das neue Grenzen auslotete und das auch heute noch fasziniert.
Mit den "Tales..." haben Yes etwas geschaffen,von dem sich neuere Bands unzählige male gerne (abgewandelt) bedienten und damit unzählige Alben gefüllt haben.
Nie wieder war die Band so kreativ und im künstlerischen Bereich aufregend,wie auf "Close To The Edge",den "Tales.." und "Relayer".
Es ist eine Musik,auf die man sich einlassen muß,in der man versinkt,die einen in ihren rhythmischen percussiven Phasen ebenso,wie in ihren getragenen,in einem Thema stoisch verharrenden Parts in Anspruch nimmt und,einen Nerv für diese Musik vorausgesetzt,einen in eine ganz besondere Stimmung versetzen und begeistern kann.
Wohl kaum ein anderes Album wird so oft erwähnt,wenn es um den Niedergang für die Masse des Prog-/Artrock geht.
Yes hatten es hier einfach auf die Spitze getrieben und typische Elemente dieser Musik bis ins Groteske ausgewalzt.
Und genau das ist wohl der Grund dafür,daß das Album so leidenschaftlich gehaßt und so inbrünstig geliebt wird.
Mit "Tales From Topographic Oceans" haben Yes Musikgeschichte geschrieben.
Für mich ist es ein faszinierendes Album,das in jede gute Musiksammlung gehört.
Als Einstiegsalbum ist es denkbar ungeeignet,dafür gehört es zu jenen Werken,bei denen man nie aufhört,sich "hereinzuhören".
Für das Artwork zeichnet mal wieder Roger Dean verantwortlich,für das Thema des Konzeptalbums Jon Anderson.
Es geht dabei um "heilige indische Schriften",die umfangreiche Themen abhandeln,typisch Anderson halt.
Die Aufnahmequalität ist sehr gut,dementsprechend klangen auch die alten Platten.
Die Liste der Wiederveröffentlichungen ist ellenlang.
Ob nun die Remaster-CD von 1994 (remastered by Joe Gastwirt),irgendwelche Japan-CDs,mal mit HDCD-Codierung und auf einem anderen Remastering beruhend,oder auf SHM-Material,welches angeblich klangfördernd wirken soll,oder die SACD oder der Bill Inglot-Remaster von 2003 auf Rhino-Records den klanglichen Zenith darstellen,ist heiß umstritten.
Was jedoch ganz klar für die Rhino-Veröffentlichung spricht,ist die Tatsache,daß hier nicht nur eine schöne Aufmachung mit Pappschuber,sondern vor allem eine längere Version von "The Revealing..." geboten wird.
Die ursprüngliche Version ist mehrfach gekürzt worden,sodaß die Rhino-Version keine künstlich verlängerte Version darstellt,sondern eine weniger gekürzte,authentischere.
Und da das Remastering nicht schlecht ist,drängt sich diese Ausgabe für mich auf.
Die Japan-Versionen und die SACD kenne ich jedoch nicht.
Für viele ist es das Meisterwerk der Band und des Progressive Rock schlechthin,während es für viele an sich selbst scheitert.
TFTO wurde als Doppel-LP bei Atlantic Records veröffentlicht und war ganz offiziell als Riesen-Projekt mit großem Anspruch angelegt;es sollte alles bisherige sprengen und das zuvor erschienene Meisterwerk "Close To The Edge" in allen Belangen übertrumpfen.
Was Jon Anderson,Steve Howe,Chris Squire,Rick Wakeman und Alan White hier auf die Beine stellten,kann man getrost als riesige Fundgrube der Kreativität bezeichnen,ob man das Endergebnis nun als gelungen ansieht oder nicht.
Die vier Tracks darf man ohne Übertreibung als ausufernd beschreiben;die Musiker hatten Freiraum zur Verfügung,konnten zeigen,was sie auf ihren Instrumenten so alles konnten.
Für viele hätte man das Album straffen können/müssen,wirkt das Album in die Länge gezogen,mit Banalitäten gestreckt.
Für Vertreter der Gegenmeinung darf kein Ton fehlen,ist das Album einfach perfekt,ein in sich geschlossenes Universum,in dem jedes Detail seinen Zweck erfüllt.
Skeptikern wurde und wird gerne vorgeworfen,die Musik schlicht "nicht zu verstehen",während diese den Begeisterten ein Hereinfallen auf eine gigantische Luftblase,auf "Des Kaisers Neue Kleider" unterstellen.
Tatsächlich ging es bei den Aufnahmen wohl recht chaotisch zu,war phasenweise Frustration bei einigen Musikern vorhanden,waren elementare Meinungsverschiedenheiten an der Tagesordnung;ein Klima,in dem Meisterwerke,aber auch unausgegorenes Zeug entstehen können.
Ob das Album nun überambitioniert,zu ausufernd,in seiner technischen Perfektion zu selbstverliebt,zu komplex,zu abgehoben wirkt,sei mal dahingestellt;auf jeden Fall quillt es über vor Ideen,Anspruch,Abwechslung...und stellt etwas dar,das es so noch nicht gab,das neue Grenzen auslotete und das auch heute noch fasziniert.
Mit den "Tales..." haben Yes etwas geschaffen,von dem sich neuere Bands unzählige male gerne (abgewandelt) bedienten und damit unzählige Alben gefüllt haben.
Nie wieder war die Band so kreativ und im künstlerischen Bereich aufregend,wie auf "Close To The Edge",den "Tales.." und "Relayer".
Es ist eine Musik,auf die man sich einlassen muß,in der man versinkt,die einen in ihren rhythmischen percussiven Phasen ebenso,wie in ihren getragenen,in einem Thema stoisch verharrenden Parts in Anspruch nimmt und,einen Nerv für diese Musik vorausgesetzt,einen in eine ganz besondere Stimmung versetzen und begeistern kann.
Wohl kaum ein anderes Album wird so oft erwähnt,wenn es um den Niedergang für die Masse des Prog-/Artrock geht.
Yes hatten es hier einfach auf die Spitze getrieben und typische Elemente dieser Musik bis ins Groteske ausgewalzt.
Und genau das ist wohl der Grund dafür,daß das Album so leidenschaftlich gehaßt und so inbrünstig geliebt wird.
Mit "Tales From Topographic Oceans" haben Yes Musikgeschichte geschrieben.
Für mich ist es ein faszinierendes Album,das in jede gute Musiksammlung gehört.
Als Einstiegsalbum ist es denkbar ungeeignet,dafür gehört es zu jenen Werken,bei denen man nie aufhört,sich "hereinzuhören".
Für das Artwork zeichnet mal wieder Roger Dean verantwortlich,für das Thema des Konzeptalbums Jon Anderson.
Es geht dabei um "heilige indische Schriften",die umfangreiche Themen abhandeln,typisch Anderson halt.
Die Aufnahmequalität ist sehr gut,dementsprechend klangen auch die alten Platten.
Die Liste der Wiederveröffentlichungen ist ellenlang.
Ob nun die Remaster-CD von 1994 (remastered by Joe Gastwirt),irgendwelche Japan-CDs,mal mit HDCD-Codierung und auf einem anderen Remastering beruhend,oder auf SHM-Material,welches angeblich klangfördernd wirken soll,oder die SACD oder der Bill Inglot-Remaster von 2003 auf Rhino-Records den klanglichen Zenith darstellen,ist heiß umstritten.
Was jedoch ganz klar für die Rhino-Veröffentlichung spricht,ist die Tatsache,daß hier nicht nur eine schöne Aufmachung mit Pappschuber,sondern vor allem eine längere Version von "The Revealing..." geboten wird.
Die ursprüngliche Version ist mehrfach gekürzt worden,sodaß die Rhino-Version keine künstlich verlängerte Version darstellt,sondern eine weniger gekürzte,authentischere.
Und da das Remastering nicht schlecht ist,drängt sich diese Ausgabe für mich auf.
Die Japan-Versionen und die SACD kenne ich jedoch nicht.
Brother Ross
3.0 out of 5 stars
Il manifesto (fuori controllo) degli Yes
Reviewed in Italy on March 27, 2018
Da tempo ero indeciso se acquistare questo lavoro, più che altro per completare la mia collezione, proprio perché scoraggiato dai giudizi di amici che possedevano l'originale. Mi sono convinto sia per la curiosità, sia perché questa edizione ampliata e rimasterizzata aveva un prezzo davvero conveniente.
Ebbene, non posso che confermare il giudizio riguardo la pesantezza e l'inutile lunghezza di questa opera, tecnicamente ineccepibile, ma contenutisticamente ridondante e infine davvero noiosa. L'edizione ampliata, ancorché meritoria dal punto di vista archivistico, aggiungendo oltre 40 minuti di brani precedentemente inediti, ne rende ulteriormente difficoltoso l'ascolto per intero. A mio parere, si tratta di un lavoro frutto di progettazione piuttosto che di vera ispirazione.
Ebbene, non posso che confermare il giudizio riguardo la pesantezza e l'inutile lunghezza di questa opera, tecnicamente ineccepibile, ma contenutisticamente ridondante e infine davvero noiosa. L'edizione ampliata, ancorché meritoria dal punto di vista archivistico, aggiungendo oltre 40 minuti di brani precedentemente inediti, ne rende ulteriormente difficoltoso l'ascolto per intero. A mio parere, si tratta di un lavoro frutto di progettazione piuttosto che di vera ispirazione.
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