Even if "Close to the Edge" was a perfect progressive rock album and Yes had stopped making music right then and there, they would still be one of the greatest bands in history and could claim some of the best albums ever to come out of rock music. But what truly cemented Yes's status as one of the greatest bands of all time were the two albums that followed, two unsurpassed records: "Tales from Topographic Oceans" and "Relayer". Both are exponentially deeper than "Close to the Edge" in terms of scope and musical mastery, despite the reservations many fans and even some band members had, especially regarding the former. "Tales from Topographic Oceans" is one of the most magical, powerful, and iconic recordings of all time, and empty criticism born of musical ignorance will never be able to touch it. Musically speaking, this double album offers nearly an hour and a half of Yes's most daring and sophisticated explorations to date: extended solos, legendary vocal harmonies, meticulously arranged instrumental sequences, oceanic soundscapes, and acoustic performances worthy of a true classic. It goes without saying that this is not an album to be enjoyed in a single listen, becoming a unique musical experience each time it is heard. On the other hand, it is controversial. While millions of fans adore it, just as many detest it (starting with keyboardist Rick Wakeman), who has publicly ridiculed it on more than one occasion, leading to the infamous curry incident. Unlike the aforementioned "Close to the Edge", in this case, each track (one on each of the four sides of the album) is a complete piece, not composed of subdivisions with individual titles. The story behind this concept album is suitably dark and indulgent, inspired by a footnote on page 83 of Paramhansa Yogananda's "Autobiography of a Yogi." The album opens with "The Reveling Science of God (Dance of the Dawn)", where Rick Wakeman's keyboards are prominent and Jon Anderson showcases his vocal prowess, accompanied by a wide array of instrumental developments from the rest of the band. The following track, "The Remembering (High The Memory)", has a structure quite similar to the first, with Wakeman's keyboards once again taking center stage. However, the overall composition isn't as powerful as the previous track, resulting in a more uplifting piece. The second disc opens with "Things Ancient (Giants Under the Sun)", where Steve Howe delivers the highlights, developing countless scales on his guitar and creating arabesque sounds, leading into a much more moving and accessible second half. The final track, "Ritual (Nous Sommes du Soleil)", is the most purely rock song, featuring exuberant and dynamic percussion by Alan White, and is particularly impressive live. In short, this is an album where Yes manages to weave grand, dynamic soundscapes from melodic allusions. With the exception of Chris Squire, who is generally rather subdued and has less instrumental weight than usual, the album is perfectly balanced, a work as immeasurable as it is unique, and considered one of the masterpieces in the history of progressive rock.
