Vinyl Reports

In December 1973, Yes issued Tales From Topographic Oceans, a double album that some fans consider to be the greatest record they ever made, while others view it as a time-marker pinpointing the precise moment where the entire progressive rock genre went off the rails. Either way you look at it, the galvanizing, chart-topping Tales From Topographic Oceans is being rightly celebrated today, February 6, 2026, with the release of an exemplary, expansive super deluxe edition from Atlantic/Rhino that includes 2LPs, 12CDs (yes, 12 CDs), and 1BD — a truly deep-dive for (re)consideration of this remarkable recording.

The pair of LPs that are key parts of this new edition of Tales From Topographic Oceans (a.k.a. Tales, or, for the balance of this review, TFTO) were pressed in Germany, most likely at Optimal. Each disc comes housed in its own black paper, plastic-lined audiophile-grade inner sleeve, and both LPs enjoy their own protective, custom cardboard storage pocket within the inner panels of the hardbound-styled packaging.

Given the utmost in handle-with-care production treatment that’s evident here, the essential DNA behind the 2LPs of TFTO includes sonic finesse from one of the most respected and influential engineers in the world, Bernie Grundman of Bernie Grundman Mastering in Hollywood. Reading between the lines, it is probably fair to assume that, given the original album was remastered for this collection, it is likely that a digital stage was employed somewhere along the way. Analog purists need not worry, however, since the above-noted Bernie Grundman handled the job, and he also cut the new lacquers. (More on how it all sounds in a moment.)

The super deluxe edition of TFTO also offers listeners an extra-deep dive into this music beyond just the 2LP vinyl pressing, since there’s also a BD with new remixes by Steven Wilson in Dolby Atmos and 24bit/96kHz 5.1 DTS HD Master Audio 5.1, as well as instrumental and stereo remix options. Meanwhile, the 12 (count ’em!) CDs are bursting with many eye-and-ear-opening live and studio rarities, so the entire collection is well worth the investment of your time — and money. (Footnote 1)

As for the cost, the Tales From Topographic Oceans super deluxe edition sports an SRP of $124.99, and you can order it from Music Direct here, and/or via the MD link graphic that appears below, later in this review just ahead of the tracklisting section.

For the record, Tales From Topographic Oceans was released by Atlantic on December 7, 1973, in the UK and on January 9, 1974, in the U.S. — and you might be surprised to learn that it was actually a big hit at the time, as it reached the No. 1 spot on the UK album chart and No. 6 in the U.S., in turn rapidly achieving a Gold sales certification (500,000 copies). This is an impressive accomplishment for an 80-minute conceptual album with no true singles per se, and “only” four songs spread across a double-LP set!

Speaking of those 2LPs, I’m happy to report that both of the 180g black vinyl discs in my new TFTO set are of very high quality — dark, well-centered, and supremely quiet. No problems there to report, and I’ll share much more about what I heard on them in a bit.

Before I do that, I first wanted to note that the liner notes in this collection are super-insightful, offering even a lifelong fan like myself new perspectives into this music. The following excerpt from those liners was also issued in the official press materials, and it is especially helpful in framing TFTO within both the timeframe in which it was released, but also in the context of Yes’ overall trajectory: “When the album came out, it took time for some fans and critics to catch up with the band, as writer [and onetime major label exec] Syd Schwartz of ‘Jazz and Coffee’ [his Substack page] recalls in the set’s liner notes. ‘Consensus was never the point,’ he says. ‘Tales from Topographic Oceans will continue to be debated, dismissed, defended, and rediscovered. Its resistance to easy categorization is not a failure — it’s the reason it endures. It’s a vast, unknowable ocean of sound and spirit. And it still hasn’t finished revealing itself.’”

Schwartz also points out in those liners that, without TFTO, there would be no Relayer, the band’s most excellent November 1974 followup LP — nor, quote, “no pivot to leaner, sharper structures in the later ’70s. No map gets drawn without first pushing the edges of the known world — and Tales is where Yes did exactly that.’”

In that distinctive light, while TFTO was technically the studio followup release to Yes’ Top 5-charting September 1972 Atlantic LP Close to the Edge, to best appreciate this multilayered complex work, this double album should really be considered as its own unique universe, essentially incomparable to the Yes music that came before or after it.

While all reports I’ve read indicate that then Yes keyboardist Rick Wakeman in particular was not happy with his role on TFTO — he left the band after the recording and ensuing tour were done — personally, I love his contributions here. His parts are decidedly not about solo bravado, which was no doubt something of his trademark in Yes thus far. Instead, what Wakeman does on TFTO feels more orchestral and symphonic — connective musical glue subtly supporting the flow of the music. In many ways, it feels like he was using his synthesizers more as a string section here, providing a sense of buoyancy and soaring ascendance in a kind of less-is-more aesthetic. It is, in some ways, akin to how King Crimson employed keyboards at that time, most notably the Mellotron.

The King Crimson intersection is worth unfolding a bit more. Yes singer and co-founder Jon Anderson had already recorded a guest vocal on Crimson’s third album, their December 1970 Island/Atlantic LP, Lizard. Not only that, but original Yes drummer Bill Bruford had actually left Yes after the recording of Close to the Edge to, in fact, join King Crimson! Clearly, they were all still friends, as Anderson attended Bruford’s wedding in March 1973, the occasion where he got into a discussion with Crimson’s then second percussionist Jaime Muir, the one who introduced the Yes singer to Paramahansa Yoganada’s Autobiography of a Yogi (which was first published in 1946) — the source of Anderson’s initial conceptual inspiration for the framework of TFTO!

Freshly reminded of these fun factoids, I relistened to TFTO while preparing this review, and acknowledging possible King Crimson-esque points of inspiration. Suddenly, the arguably most challenging movement of the album, “The Ancient (Giants Under the Sun)” — (LP2, Side 3, Track 1) — makes even more conceptual and musical sense. Featuring extensive drum/percussion work and war-like rhythmic interplay, this music is wild and roaring, bearing an almost free-form jazz improvisational sensibility just outside the musical spectrum in which Yes had previously traversed — yet this was a form that King Crimson had already embraced with open arms.

Dare I even go so far as say that parts of TFTO might be Yes’ King Crimson homage? That might be pushing the notion a bit too much, but it is still worth considering the crossroads. Whether a conscious or subconscious creation, it does offer a new way to appreciate this music. Personally, I’ve always relished this section for its gleeful sense of free-fall abandon.

Another little connect-the-dots revelation hit me while reading Schwartz’s new liner notes. Apparently, at least one bandmember was having trouble with the way motifs were being repeated and referenced at different points throughout the recordings across four sides of the album. Personally, that sort of “theme and variations” essence is one of the details I’ve always loved about this album. TFTO indeed ebbs and tides like an ocean, with continuum melodies flowing throughout, sometimes overlaid and inter-twined.

The musical structure is almost more classical in nature, reminding me at points of compositions like Nicolai Rimsky-Korsakov’s Scheherazade (which, coincidentally also has four sections, just like TFTO). Haunting melodies build, intersect, and evolve over the course of the different movements. Jazz artists often lift off on musical phrases that are expanded upon and referenced throughout their spontaneous performances as well. It is in that light where I find TFTO an especially rewarding listening experience.

Sonics-wise, I am quite pleased with the new vinyl remaster in this new edition of TFTO. I have compared it to my original white label Atlantic promo copies — there are two different ones! — and also a lovely German import from the early 1970s. The new edition sounds true to the music, yet with less compression and a decidedly wider soundstage. There are definitely moments where new musical details emerge more apparent such as the left-right stereophonic panning of Wakeman’s synths, which enhance his overall presence to great effect.

Overall, the super deluxe edition of Yes’ Tales From Topographic Oceans is a must-own release for serious fans of the band and this music. The remastering is exemplary, and the bonus materials — including what’s on the 12 live CDs and the Atmos mix on the BD — are extremely enlightening. I love the expanded packaging, which faithfully recreates the original album art in a very elegant, hardbound book style, arguably the nicest in Atlantic/Rhino Yes reissue series so far, which has also included similar physical approaches for 1971’s The Yes Album, 1971’s Fragile, and 1972’s Close to The Edge. The album-sized bonus booklet is also very well prepared, end to end.

My only disappointment is not really a “problem,” per se, but more of a logistical reality unrelated to the vinyl itself. If you already own the non-analog 3CD/1BD digipak edition of TFTO that was released by Panegyric in 2016, you’ll still want to hold onto it, as there are numerous elements distinct to that set that are not duplicated in this new one such as other rare photos, different essays, U.S.-banded promo material, the original UK vinyl needle drop mix, and the like.

Musically, I feel that TFTO — especially as presented on vinyl in this new super deluxe edition set — goes “to infinity and beyond,” to borrow a catchphrase from Buzz Lightyear of Toy Story fame. That said, as to my ratings, I’ll be content to rank the Music here as a solid 10. Sonicswise, I enjoyed this new vinyl edition greatly, and am happy to also give it also a 10. (Footnote 2)

By now, I suspect many of you have realized that Tales From Topographic Oceans is a very important and personal album for me. I was introduced to this music by a friend when I was in 8th grade not long after it had been released, and it rocked my musical world in many ways. Sealing my fandom for the music of Yes, I have studied this album with countless hours of repeated listening. TFTO is a great headphones experience, but it also is a great album to explore intimately in your favorite musical sweet spot with the lights down low, and the volume up loud. While I love all the other classic ’70s era Yes albums, TFTO remains my favorite. In fact, it is in my Top 10 — maybe even Top 5 — favorite albums overall!

Maybe this new edition of Yes’ Tales From Topographic Oceans, will help it become one of your own favorite LPs as well. Either way, an amazing musical journey awaits you.

Author bio: Mark Smotroff is an avid vinyl collector who has also worked in marketing communications for decades. He has reviewed music for eCoustics, among others, and you can see more of his impressive C.V. at LinkedIn.

Footnote 1: AP editor Mike Mettler adds: The good news is that, as you can see by the image shown above, some of the live material that’s only on the CDs in the expanded Tales collection that’s being reviewed here will make its way onto Tales From Topographic Tours, a 3LP set on black vinyl that’s been earmarked for release on Record Store Day on April 18, 2026. It’s an RSD Exclusive that will be capped at 3,500 copies. Rhino further confirmed that this RSD Yes release will feature, quote, “full, soaring live versions of all four epic album sides,” so those four tracks will comprise all of LPs 1 and 2 — though it is not yet specified which versions they are, since different live takes of each Tales track can be found on CDs 10, 11, and 12. Meanwhile, LP3, Side 5 offers “And You And I,” and LP3, Side 6 holds “Close to the Edge.” Both of the latter tracks are on CD11 in the super deluxe edition, which is subtitled Live at Hallenstadion: Zürich, Switzerland (4/21/74). Me, I’m looking forward to dropping the needle on all of it!

Also, Mark wanted to share some additional comments about the digital elements contained in the new TFTO collection, so I’m including them here instead of in the main review. Thus, in Mark’s words: “The Dolby Atmos and 5.1 mixes included on the Blu-ray are excellent, quite immersive, and not gimmicky. I’m actually more wildly excited about the [12] bonus live CDs, which present some tremendous early concert versions of the music in progress, including some compelling improvisational moments by Rick Wakeman unique to these performances. It’s also exciting to hear the response of audiences to this music — contrary to many of the reports I’ve read over the years, Yes fans seem to have loved hearing TFTO in concert, which also reflects the strong sales of the music at that time.”

Hear hear, sayeth I. I too am enamored with the Atmos mix, for one thing.

Footnote 2: Mettler again. I concur with Mark that the packaging for the expanded Tales collection is the best in the Atlantic/Rhino Yes reissue series to date, and I hope it continues with what will certainly be next up on their slate — 1974’s review-text-referenced Relayer, of which I hold a special place in my heart. (It’s just a few ticks ahead of Tales on my list.) My two Tales LPs were both deep black, flat, and well-centered, and I only detected a few pops and clicks on LP1, Side 2 during some of the quieter passages on “The Remembering (High the Memory).” Not a deal-breaker, mind you, as I never actually had a clean, new Tales original, only a used copy that I spent less time spinning back in the day than I probably should have. (So much great Yes music on vinyl, so little time, as it were.)

As to my own ratings, I give the Music of Tales a 9, and the Sound gets a 9.5. From my POV, Close to the Edge is the best album in Yes’ vast studio oeuvre, and it goes all the way to a full 11/11 in my book — especially on the July 2025-released 180g 45rpm 2LP Atlantic 75 Audiophile Series version from Analogue Productions (APA 044-45) — as do both The Yes Album and Fragile (although Edge holds a slight edge over them both). And, since we mentioned it for context, Relayer gets a 9.5.

YES
TALES FROM TOPOGRAPHIC OCEANS
180g 2LP/12CD/1BD (Atlantic/Rhino)
SOUND: 10
MUSIC: 10

Original album produced by Yes and Eddy Offord
Original album engineered by Eddy Offord at Morgan Studios, London
Original album remastering and vinyl lacquers cut by Bernie Grundman, Bernie Grundman Mastering, Hollywood
Remixes (BD and CD only) by Steven Wilson
Vinyl pressed in Germany, at Optimal
Reissue produced for release by Jason Jones and Steve Woolard

LP1, Side 1
1. The Revealing Science Of God (Dance Of The Dawn)

LP1, Side 2
1. The Remembering (High The Memory)

LP2, Side 3
1. The Ancient (Giants Under The Sun)

LP2, Side 4
1. Ritual (Nous Sommes Du Soleil)

12CDs

CD1: Original Album Remastered
1. The Revealing Science Of God (Dance Of The Dawn)
2. The Remembering (High The Memory)

CD2: Original Album Remastered
1. The Ancient (Giants Under The Sun)
2. Ritual (Nous Sommes du Soleil)

CD3: Steven Wilson 2026 Remixes
1. The Revealing Science Of God (Dance Of The Dawn)
2. The Remembering (High The Memory)

CD4: Steven Wilson 2026 Remixes
1. The Ancient (Giants Under The Sun)
2. Ritual (Nous Sommes Du Soleil)

CD5: Steven Wilson 2026 Instrumental Mixes
1. The Revealing Science Of God (Dance Of The Dawn)
2. The Remembering (High The Memory)

CD6: Steven Wilson 2026 Instrumental Mixes
1. The Ancient (Giants Under The Sun)
2. Ritual (Nous Sommes Du Soleil)

CD7: Rarities
1. The Revealing Science Of God (Dance Of The Dawn) - Single Edit
2. The Remembering (High The Memory) – Single Edit
3. The Ancient (Giants Under The Sun) – Single Edit
4. Ritual (Nous Sommes Du Soleil) – Single Edit 1
5. Ritual (Nous Sommes Du Soleil) – Single Edit 2
6. The Revealing Science Of God (Dance Of The Dawn) – Version 1
7. The Remembering (High The Memory) – In Progress
8. The Ancient (Giants Under The Sun) – In Progress

CD8: Rarities (ctd)
1. The Revealing Science Of God (Dance Of The Dawn) – In Progress *
2. The Ancient (Giants Under The Sun) – In Progress 2 *
3. The Revealing Science Of God (Dance Of The Dawn) – In Progress 2 *

CD9: Rarities (ctd)
1. The Remembering (High The Memory) – In Progress 2 *
2. Ritual (Nous Sommes Du Soleil) – In Progress *
3. The Revealing Science Of God (Dance Of The Dawn) – Version 2

CD10: Live at Free Trade Hall, Manchester, England (11/28/73)
1. The Remembering (High The Memory) *
2. The Ancient (Giants Under The Sun) *

Live at Capitol Theatre, Cardiff, Wales (12/1/73)
3. The Ancient (Giants Under The Sun)*
4. Ritual (Nous Sommes Du Soleil)*

CD11: Live at Hallenstadion, Zürich, Switzerland (4/21/74)
1. And You And I *
2. Cord Of Life
3. Eclipse
4. III. The Preacher The Teacher
5. IV. Apocalypse
6. Close To The Edge *
7. The Solid Time Of Change
8. Total Mass Retain
9. III. I Get Up I Get Down
10. IV. Seasons Of Man
11. The Revealing Science Of God (Dance Of The Dawn) *

CD12: Live at Hallenstadion Zürich, Zürich, Switzerland (4/21/74)
1. The Ancient (Giants Under The Sun) *
2. Ritual (Nous Sommes Du Soleil)

BD
1. 2026 Dolby Atmos Mix
2. 2026 5.1 Mix DTS-HD MA
3. 2026 Stereo Remix
4. 2026 Stereo Remaster
5. 2026 Instrumental Mix

* Previously Unreleased