TALES FROM TOPOGRAPHIC OCEANS

From the number of reviews here, it's obviously a sort of "rite of passage" for many prog reviewers to put in their two cents on this album, and it's high time for me to add mine too. For some 40-odd years now, I've revered TFTO as one of my TOP FIVE albums of all time, and I'll try to explain my reasoning for that here.

First, if you never bought into the basic concept and scope of the album, you probably never had the patience to sit through this very demanding (and some say excessive) music long enough to experience its true beauty, and surely nothing I say here will convince you to try it again. Yet I'm still astounded that some self-proclaimed prog heads never realized that this was probably THE MOST progressive album of its time (keep in mind, this was 1973!) - for just how long did you expect this talented quintet to remain content to simply rehash their established (though successful) musical style on new studio releases?

Second, you have to understand that Yes got their positive vibe and harmonies from 60's flower power, hippie, folk-rock (listen to their debut album, a mere four years earlier) - but they electrified it, and played it in an angular fashion using odd time signatures, following the influence of 20th century classical music on their compositional style. That influence manifested itself in the way they wrote longer suites of music (numbered almost as if they were short concertos or symphonies). Think "Starship Trooper", "And You And I", and of course "Close To The Edge". Was it really that much of a stretch for us to see them attempt to expand this form to the max on the very symphonic "Tales"?

This is a magical, beautiful, sophisticated album performed as only the virtuosos of Yes could play. O.K., there are admittedly moments of excess (e.g. parts of "The Ancient"); and the fact that each "song" or movement occupies a full vinyl album side smacks somewhat of artificial structuring. But there is just so much excellent songwriting here too, and I challenge any veteran listener of this album to deny remembering some great lyrics or melodic hooks. (I can probably hum the whole album for you from start to finish, including the great solos!) And one certainly can't refute the mysticism and abstract optimism of the lyrics, which typically include a lot of word-painting and poetry as well. The lyrics are augmented by some of the best three-part vocal harmonies the band has ever done. (Listen to "Ritual".)

Excellent debut for Alan White on drums (which really sound great on the remastered version). Incredible guitar layering and solos by my favorite guitarist. ("Go get 'em, Steven!") Lots of piano and lush synth and mellotron washes from Wakeman add a dreamy coloring to much of the music. Squire's bass may be toned down a bit in the mix, but he's endlessly inventive on this album, and his solos comprise some of the album highlights for me personally.

When all is said and done, it doesn't really matter if you feel as I do about this album - it was undeniably controversial, even within the band! So it's no surprise that this album just won't succeed with some listeners (though I do object to those reviewers who join in on the lynching simply because it feels good to find fault with these seemingly "arrogant and pretentious" innovators of music). Even I am not above admitting that there were some subsequent Yes albums that really missed the mark for me too. (Open Your Eyes indeed!)

This was an ambitious undertaking by Anderson and Howe, and perhaps too spiritual, deep and cerebral for the halfhearted prog fan. (There is no humor to be found here.) But for the ardent fan of thoughtful, serious, meaningful, uplifting and emotional progressive rock played with unparalleled virtuosity, TFTO was a virtual masterpiece in its genre, and the uniquely inspirational magnum opus from a truly progressive band that was in its prime and seeking perfection.