To be honest, The Ancient and Ritual are my favorite parts of Tales. Since I first listened to the album I automatically got drawn to these parts, The Revealing Science was okay but I struggled to like The Remembering for a while. Maybe my inner metalhead/hard rocker couldn't get that into the softer and monotonic aspects of the indian influence in that song. Of course by now, after having been properly introduced to jazz, world music and indian music (thanks to John McLaughlin, lol) I do enjoy those songs more than before, but man! The Ancient is still the highest point of the album for me.

@@rodrigoodonsalcedocisneros9266 Though I love all of this album The Ancient is weird, wild stuff and for me is still as fresh and interesting as it was in 1974. It is about as far out and freaky a place as Yes ever journeyed to and is an absolute joy to listen to - for me. I'm glad you love it too.

Not a bad song....lol r u Fucking kidding me this is Beethovenish stuff, saw it played live 6 or 7 times ...

I agree. This and Relayer are my favorites.

​@@rodrigoodonsalcedocisneros9266coincidentally, Yes had John McLaughlin's Mahavishnu on their bill at the crystal palace performance in September 72, where they first played close to the edge ( I was there) and I reckon were influenced in some way, like many musicians at that time.....

What Ash Armstrong said.... Lol...

50 years that passed very quickly!!

47 years only for me guys. Never stopped listening to these Tales (and CTTE + Relayer of course). Pure masterpieces.

It's incredible to think it has been THAT long. A true testament to the genius of Yes. That streak of albums from The Yes Album up until GFTO is probably the highest point of artistry inside the commercial music industry.

I first heard Tales in late 1978 (my brother had borrowed it from a friend), and got my own copy of the album in the summer of '79 (on an exchange trip vacation at Clacton-on-Sea, Suffolk - I'm from Sweden) :) Outstanding album, and The Ancient is my favourite track off it - in many ways a unique piece of music, the boldest venture on the entire album. :) During the same stay in Clacton I also bought a copy of Juan Mascarò's translations of the Upanishads (some complete,. some in selections) - a beautifully rendered Penguin Classics paperback that has folllowed me ever since, and which provides serious insights into the Hindu inspirations of Anderson for this album.

This makes me so happy to hear. I’m a young adult who goes through phases trying to learn to play guitar but I keep getting frustrated and falling out of practice. I wanna keep trying.

@@singerofsongs468 It takes time and energy to learn, but it is well worth it.

Gorgeous solo guitar piece and song. I first heard it around the same age and loved it at once.

Congrats, and a deep bow.

that's a fitting quote! can I ask you - what was your father's name? Can any of his works be found on the internet?

@@georgesonm1774 I left a comment twice now, letting you know where you can find him, but I guess yt deletes comments now that mention other places. His name was Tristan Meinecke. You can find him here, among other places. Enjoy : )

Yes Sir I understand I feel I gues hahaaa total respect, cheers Doug

It's to the fishes,,,,

@@Lightmane thank you! I will look him up

No one can ever accuse you of taking the easy path!

@@cobbycaputo3332 Well, I thought it was easier to play than Mood For A Day (which I learned a couple of years later) or Clap (which I still haven't learned.) But this piece was challenging enough, no doubt.

Class of 89 here!

Instantly reminded me of Larks' Tongues in Aspic

I'm pretty sure Robert Fripp played more or less in tune.

@@rumourhats MORE

Fripp- but on pedal steel slide guitar, and either done "primative style" for effect or just rushed and off tune. Some bits actual sound like Adrian Belew would 8 years later, Belew used the wammy and only sometimes slide (and I really think Belew can hear Quartertones-so his "out of tune " is more controled.

Howe was a huge fan of King Crimson and some ideas on Topo had some inspiration from the Fripp Wetton Bruford trilogy of albums. It had taken me literally decades for Howe’s playing on this album to reveal ( pun intended) themselves. Being a vocalist who dabbles in bass and keyboards that where my focus had always been. Buy my god Howe has become my fave guitarist now.

It is the third "movement" (loaded word for Jon), but I don't think we should be thinking of "scherzo" in terms of "humorous"--mostly because this doesn't seem all that humorous at all. But a "scherzo" is also a change in tone--a break, a movement to a different view and world...and THAT it most certainly is. What this sounds and feels like to me--still, after steadily listening to it for nearly 50 years now--is musically analogous to the sort of journey or ordeal that an initiate (or, really, anyone seeking to move to the next level of life, even if that's just quotidian adulthood) must go through. What I experience listening to this is (as Doug sort of implies) a journey: unexpected, unpredictable, rather frightening at times, as if working one's way through a dark jungle, pathless (or, as another band put it, "starless"). Finally, we get to a place of rest: first, a bit uncertainly, Steve's acoustic guitar, which relatively peaceful though it is compared to the hellishness of the first half, nevertheless is a bit restless rhythmically and harmonically (that ending of each section with the sequential open major-sevenths? What a cool sound...but a bit unsettling, too...). And then, finally...we get the balm of Jon's beautiful closing section. My only complaint is that the piece as a whole feels a little unbalanced: the first half is so dense, it's hard for the second half not to feel like an extended coda rather than a co-equal section of the piece. What really sells this whole "journey through darkness" idea for me is the final section (side 4): after a slightly unsettling opening (which echoes the "journey" idea but in controlled form of the harmonic arch of the opening chords (I-V-ii-iii-IV-iii-ii), the song begins with a feeling of both triumph and anticipation: triumph due to Steve's fanfare-like guitar motif, anticipation because Chris's bass holds down the bottom on the fifth of the chord rather than the root. He also echoes the octave up-and-down theme that he used often in "The Ancient." Even though phrase by phrase Jon's lyrics are often impossible to parse, that his overall theme is spiritual rightness and harmony with the universe is very obvious. TfTO is, I think, a large-form piece about exactly that...and the last two parts really bring that home to me. "Nous somme du soleil" ("we are of the sun"--i.e., "we are light") is his final word here...and it's fitting that that "movement" is the one they played live most often, I think--its ending is one of the most graceful and triumphant moments in Yes's catalog.

Oops, I didn't scroll down far enough...I just posted the same thing about "The Ancient" being the scherzo; I thought of it in terms of a change in tone, as Jeff pointed out.

@@2fs great comment Jeff! I also think that Side 3 as a standalone piece does feel a little unbalanced - and it was a strange experience for me to listen to it now, front to back, apart from the whole album, since I usually listen to it in the context of the whole. This definitely should be listened to followed by Ritual. and what strengthens this connection with other parts of the album is, to me, Steve's wild guitar throughout where he quotes other pieces within the album (and also, at one point, Siberian Khatru?). I love the idea of this being not only a 'journey' (which it definitely is!) but a 'journey of the initiate' / the ordeal / the journey through darkness. Interesting observation about Chris' bass tying Side 4 with Side 3 - I need to keep an ear for this! I might be wrong, but my impression is that Side 3 contains the weirdest chords coming from Rick in the background mellotron parts, probably in his whole career?

@@2fs Thanks for your reply! Regarding my translation of "scherzo" as "humorous", "scherzo" is the Italian word for "humorous", but I take "humorous" here (given the change in meaning from the etymology) to mean "unexpected change", which is essentially what "humorous" means. So I recognize that what you said about "a change in tone--a break, a movement to a different view and world" is the same as what I said. As for the positioning of the first half and the second half, what I am about to say is my impression. "The Ancient" is titled "Ancient Civilizations" in Japanese. The dense and chaotic melodies and octave up-down themes of the first half are reminiscent of "Ancient Super Civilizations by Giants" as the title suggests. In the second half, "Leves of Green," the lyrics sound like a message that history and civilization have been connected by the baton of people, but there must be a "traveling you" to tell the story. So I hear the first half and the second half sections as equal. "Ritual" has elements of the previous 1-3 movements scattered throughout ("close to..." and "Siberian..." ), and it is fun just to look for them. It is fun just to look for them, but it is precisely because of such a compositional structure that can be called the "sum total of the journey" that I feel that "Ritual" is both the "fourth movement" and "TFTO itself" at the same time. That is why I believe it is most played live; the symphonic live version from 2001 is my personal favorite.

@@georgesonm1774 I also like the idea that Chris' bass ties side4 and side3 together. Although the nature of a vinyl record is limited by the fact that it switches between sides A and B, so the sound is cut off... If we already had CD or digital technology, I wonder if the 3rd and 4th movements of TFTO would have been as seamless as the 3rd and 4th movements of Beethoven's "Fate".

Me to!!!😂❤

Whacky as out. Mind I am biased with Alan White being a fellow North East England lad. Just liove the rhythms. The only parts he might not have wrote.

When Yes out tool Tool

Glad to see I'm not the only one…

I like this, but I prefer all the other songs on this album. Some of this track seem to be too repetitious, kind of dragging a bit. I realize they couldn't have one side of only ten minutes long, but that would have been better for this song if they pared it down a little.

He was guitarist of the year 10 times in a row and Guitar Magazine had to archive him into "all time greats" so that they could finally feature someone else. LOL

I agree.. I mostly like Wilson's remixes but sometimes renders the music a bit sterile when parts are too articulated.. I'm preferring the original mix...

Steve and Jon gave them their moment in the sun, TfTO is definitely the Anderson/Howe show and lasting masterpiece.

Pete Pardo of Sea of Tranquility recently covered this. kzfaq.info/get/bejne/e8B-aaV4sZOypZc.htmlsi=wNEucIxlyX49IbaT

@@lesblatnyak5947 I could only wish, Les. I've seen them--in some iteration or another---only about 11-12 times. However, I have had the distinct pleasure to have met both Jon and Rick; Rick and I even had a delightful conversation of over 30 minutes !!! Lovely chap !!!

Those Steve acoustic solo shows were amazing and the classical guitar on Side 3 is awesome. I got this album in December 73 and it blew my 14 year old mind. My mum bought me Brain Salad Surgery for Christmas and I was set for life.

@@donaldanderson6604 The wife and I were lucky enough to get front row directly in front of Steve (as well as for Jon on the "1000 Hands tour"). WOW !!! Tales and Brain Salad Surgey---and we got them so young !!! Difficult to top those two records from there on out !!! Isn't it great ?!?

One of the all time greats on drums for sure. Adds dynamics on almost every song they do.

When drumming with Beatles legends John & George and Blind Faith/Cream legends Ginger & Eric.

Can't wait!

I so hope they'll continue their tour in the UK and Europe afterwards! 🙂

Howe's lap steel parts in the beginning are sublime. Alan and Chris aren't too shabby either. The middle section is a gradual development. But excellent nonetheless. This is my favorite record of all time and it's not even close. Don't b hard on yourself for not liking side 3 at first. Sides1, 2 and 4 have a much more immediate effect. And.. You've come around!

Doug reacted to Lamb Lies Down On Broadway in its entirety on Pateron.

Interesting association! Although I don't really recall a Zappa track ever being this dark and demented at the same time. I always thought of this as being King Crimson- inspired (although this is likely more far-out than KC had ever be?)

@@georgesonm1774 Dark and demented? What have you heard of Zappa?

Come on now

bit pretentious band. but yeah they are good overall

@@markranfone6393 I never thought of them as being pretentious, a lot of people just can't stand them but millions like me think they're the greatest band ever! To each his own.

@@markranfone6393 They have achieved their pretensions 100% , so the alleged "pretensiousness" paid off

its a question of opinion yours! great band but me Genesis thru Duke, Dream Theater, Pink Floyd Tool before

@@themusicfan2179 I believe I did say it was my opinion.

Why yes...yes I can, I was just 15 when my mates older brother challenged me with. 'So you like Close To The Edge huh? Ok try this!!'.....took me a couple of listens but dayam I was in!

yeah! definitely a 'grower'. I've had a very similar experience with this one (and Side 2 as well)

@@georgesonm1774 everything is special, structure, texture, timbres, mood, but the guitar lines catch me every time. howe's creativity at it's peak!

Okay, but that's Going For the One, not Tales From Topographic Oceans.

@@billyh4068 I know. I meant that he was only gone for 1 album

I don't know but I always assumed that Wonderous Stories was also based on Yogananda's Autobiography of a Yogi as well. Would be ironic if true.

@and321now kzfaq.info/get/bejne/hMCBdJCiz9nUdoU.html

@and321now Sorry, I got it partly wrong. He said Jon called him. I didn't remember the rest accurately

really? You have a journey ahead

wow man, you have wonders to discover ahead of you

@@reinaldofavoreto7160 I had to be more specific, I think. Thanks for the thought.

@@georgesonm1774 I had to be more specific, I think. Thanks for the thought.

I would say Ritual is the strongest of the four sides. Saw Yes do it at the Hollywood Bowl in the early 2000s. Chris was strutting around the stage and banging away on the drums along with Alan during the climax. They did a great Gates of Delirium as well. What a night! Took one of my teenage sons and he was sold on Yes after that.

The live version from Yesshows is way better despite the poor audio mix. I find the album version lackluster.

Probably why I don't like it. Weirdness for its own sake.

You can imagine Belew singing to it at some parts. It has that Gamelan-Discipline vibe -some years before Fripp arrived there

@@Al59redux yeah I was just thinking about it - it does actually remind me mostly of the Wetton-Bruford-Cross period (with Muir at the beginning), so that would be happening right at the same time - but I don't think KC ever went this far-out as Yes did here... (perhaps apart from Starless and Bible Black, there are really weird moments on this album). Also reminiscent of, perhaps, A Sailor's Tale or Cirkus (live version with the crazy abrasive mellotron parts).. About the Gamelan parts - yeah you're right, this kind of stuff became more prominent around the Discipline time - but doesn't Lark's Tongues part 1 begin with a Gamelan-like bells part?

@@georgesonm1774 True

Also, one of their most polyrhythmic extravaganzas - and I think that was at least stimulated by hearing Stravinsky's Rite of Spring (they had been into polyrhythmics before. but not this far)..

that's interesting! Considering the Yes albums where Billy was involved, I wouldn't really imagine that - but it was probably unfair of me!

It was

Yes, very cool it was. So was the motif quote in this from Side Two. I love that stuff.

Right album, but it was from Close to the Edge not Siberian Khartoum.

@@JeffreyBoggie are you referring to the quote from Close to the Edge in Ritual? I am fully aware of that one but I am referring to The Ancient. It’s not the same notes as Siberian Khatru but it is the same rhythm.

@@AndrewMoore58 yes Steve quotes Siberian Khatru in the electric part of the Ancient - he quotes other things too, like the 'out in the city running free' part from the Remembering (and, apparently, the opening lick from CTTE in the Leaves of Green part!). And there are other quotes like this throughout the album; Rick plays a tiny piano bit from Heart of the Sunrise in Revealing, Steve quotes the main CTTE theme in Ritual; and the references to other Tales pieces are scattered throughout the whole album, binding it together as a single 'symphony'

@@georgesonm1774 Yes it is all wonderful. I have heard it hundreds of times. Sometimes I wonder whether I am listening to a rock band or Mahler’s symphony no 4. The highlight to me is Steve’s guitar solo at the end of Ritual where he manages to bring all the themes together. Sometimes the themes are transformed from major to minor keys and all in a blistering rock solo that sums up the whole piece. A complete piece of magic.

oh yes please!