Tales from Topographic Oceans
Tales from Topographic Oceans is the sixth studio album by YES, released in 1973 on Atlantic Records. Presented as a double album with one track on each side, its concept is based on singer Jon Anderson’s interpretation of four Shastric scriptures from a footnote in Autobiography of a Yogi by Paramahansa Yogananda. It is the first studio album to feature drummer Alan White, who replaced Bill Bruford in 1972.

Tales from Topographic Oceans became the first album in the UK to earn a gold certification prior to its release. It reached number-one on the UK Albums Chart for two weeks and peaked at number 6 on the Billboard 200.

Personnel

Jon Anderson
Vocals

Steve Howe
Guitars, Vocals

Chris Squire
Bass, Vocals

Rick Wakeman
Keyboards

Alan White
Percussion

Recommended Versions

Dan Hersch & Bill Inglot 2003 Stereo Remasters for Warner Music UK/USA

Tales from Topographic Oceans
Tales from Topographic Oceans Remastered in 2003 from the master tape of the original 1973 Eddy Offord mix.
Available as:
HD 24-192 or 24-96 Downloads at HD Tracks, HiRes Audio
Gatefold CD at Amazon
Vinyl LP as per original release at Amazon
MP3 Downloads at iTunes (Standard Edition, Mastered for iTunes), iTunes (Deluxe Edition), Google Play, 7 Digital, Microsoft Store
Streaming at Apple Music, Spotify, Deezer, Rdio, Tidal
This Remaster of Tales from Topographic Oceans is also available as part of the ‘Studio Albums 1969-1987‘ Box Set at Amazon.
The Box Set contains the following remastered albums and their original track listing (ie no bonus tracks): Yes, Time and a Word, The Yes Album, Fragile, Close to the Edge, Tales from Topographic Oceans, Relayer, Going for the One, Tormato, Drama, 90125, Big Generator. Each individual album comes in a gatefold sleeve that replicates the original LP packaging.


Isao Kikuchi 2013 Stereo Remasters for Warner Music Japan

Tales from Topographic Oceans is also available as part of the High Vibration SACD Box Set at Amazon.
High Vibration is a 16 x Hybrid SACD Box Set made for the Japanese fans, containing their first 13 albums on 15 discs plus a bonus disc of extra tracks. All Remastered by Isao Kikuchi at 24-96 & 16-44.1 with a 220 page book in Japanese.
Albums: Yes, Time and a Word, The Yes Album, Fragile, Close to the Edge, Yessongs, Tales from Topographic Oceans, Relayer, Going for the One , Tormato, Drama, 90125, Big Generator and a Bonus Disc.
Bonus Disc: Something’s Coming, Dear Father, Roundabout (Single Edit), America, Total Mass Retain (Single Version), Soon (Single Edit), Abilene, Run Through The Light (Single Version), Run With The Fox, Owner Of A Lonely Heart (Move Yourself Mix), Leave It (Single Remix), Big Generator (Remix).

Listen

Spotify

Dan Hersch & Bill Inglot 2003 Stereo Remasters

Soundcloud excerpts

Dan Hersch & Bill Inglot 2003 Stereo Remasters

Sweet Dreams, Classic Years 1971-79 - From Perpetual Change by David Watkinson

YES‘ successful tour of Australia, New Zealand, Japan, UK and the US came to an end in April 1974. For the band it was not before time. Jon and Chris had gone through a period of heated disagreements over their music which had caused a serious rift in their relationship. However, it never became serious enough to cause a major split and the band survived. Jon remembers, ‘To make points with music, you have to be helpful to one another and definitely not set up barriers. To work towards a very harmonious sort of sound is the law of the land with this band, and I think it was broken on a few occasions… A time finally came when I decided that my weight should be heard. It was a time when I felt the music was suffering because of this… inner conflict.

The world tour had ensured that the band had long periods of time in which to write new material and exchange ideas for the next album. Everyone agreed that they would concentrate on longer pieces of music, carrying strong themes, or stories, and covering entire sides of the album.

Ideas were sought from the entire band, but it was Jon who came up with the final idea. He had been reading books on the inner self, specifically The Finding of the Third Eye by Vera Stanley-Adler, and Paramhansa Yogananda’s The Autobiography of a Yogi (given to Jon by King Crimson member Jamie Muir) which immediately captured his imagination. Jon admitted that he learnt a lot from Jamie Muir. ‘We started talking about meditation in music – not the guru-type but some really heavy stuff, and he gave me these books of Shastric scriptures. As I read them, I became engrossed with the idea of making music around the concepts they spoke of, making a four-part epic built around the four-part themes of which I was reading.

Spirituality had become a big part of Jon’s life and was increasingly reflected in YES‘ music. Many years later, he acknowledged this in an interview where he talked about his daily schedule: ‘I wake up, I meditate, I’m very in tune with keeping fit. I like to go for a walk. And I write some music on a piano. Review the work I’m going to do that day. Have a light breakfast. Then go back to bed for an hour, maybe. Just rest. Get ready for the day. The day can consist of a zillion things at once. It’s a question of balancing everything out. I tend to want to do two or three things a day. When I’m not working, I’m travelling. And when I’m travelling, I tend to read. I enjoy reading books and I love listening to Sibelius, I listen to Sibelius whenever I can. I love Frederick Delius. I love to read Henry Miller and Carlos Castaneda… dreaming is really where I get into the mysteries of life. I love my dreams very much. I’ve been practising dreaming now for about ten years. There’s an art to dreaming. You can find books about it. You can wake up in your dreams. You can have focussed discussions with people in your dreams. Life is a dream, really. But it’s a physical one. But when you are in your sleeping dream, it is a highly spiritual one.

The concept for Tales from Topographic Oceans had already been chosen, covering subjects such as religion, medicine, music, art, society and architecture, and it would be a mammoth project that would engulf the band over the next five months. No other band had tried anything like it before and it was a big risk, although one that Jon and Steve had total belief in.

Steve added, ‘We had so much space on that album that we were able to explore things, which I think was tremendously good for us. Side one was the most commercial or easy-listening side of Topographic Oceans, side two was a much lighter, folky side of Yes, side three was electronic mayhem turning into acoustic simplicity, and side four was us trying to drive the whole thing home on a biggie. So we saw them much smaller than they are in reality.

While touring, Jon and Steve underwent intensive writing sessions, often leading into the early hours of the morning. The first two sections of the album had been organised mid-way through the US tour and, by late April 1973, the third and fourth sections had also been sketched out. The pair presented the concept to the band back in the UK – with a decidedly mixed reaction. At first, they were taken back by the sheer scale of the project and the key concepts, and not convinced that this was a positive step forward from Close To The Edge.

The band suffered differences of opinion over suitable recording studios. Jon, Steve and Alan wanted to record away from the hustle and bustle of city life – to actually record in a forest or field, taking the album’s concept to the extreme, embracing nature, all its lifeforms, and the whole planet. Following many heated discussions as to how they could achieve the same effect in a studio setting, a compromise was made. During the first few months the band held rehearsals at Manticore Studios in London, followed by a move to Morgan Studios. The compromise was that Studio Three at Morgan Studios would be made into a miniature countryside, with straw bales to stand keyboards on, a white picket fence to keep Alan in, farm implements to add authenticity and, of course, a full-sized cow! Jon also had a bathroom built, copying his own from home with the exact tiles so he could recreate the same echo sounds he’s discovered while singing in the bath.

The album, which had originally been called Tales From Tobographic Oceans but changed to Topographic Oceans, was meant to consist of four tracks over one album. However, as time went by, the concept developed into a double album because the tracks began to get longer and longer, some running over 25 minutes, producing a total of only four tracks. This was a decision that would affect the band in a big way, guiding the style of music that would take YES forward over the next few years.

Chris Squire commented that, ‘It wasn’t a particularly happy album. It was a busy time then; we were going all the time. It was a major project and there wasn’t enough time to do something that difficult and still capture people’s interests as a commercial thing. So, it fell a little short.‘ Rick added, ‘Tales from Topographic Oceans is like a woman’s padded bra. The cover looks good, the outside looks good; it’s got all the right ingredients, but when you peel off the padding, there’s not a lot there. I think it’s a dreadfully padded album… there are some nice parts but it’s like wading through a cesspool to get to a water lily.

The album, naturally, took Atlantic Records by surprise as they had no idea of the content and their feelings were kept decidedly mute. Seeing YES as a band who could exploit their previous success and make further inroads into the US market, Atlantic decided that their next album could and should be even bigger than Close to the Edge. However, when Atlantic first listened to it, the mood was one of sheer incredulity – only four tracks on a double album was unheard of at that time. Luckily for Yes, Atlantic ignored their own doubts and backed the release.

The promotional tour for Topographic Oceans opened to mixed reviews at the famous Rainbow Theatre in north London. The critics had a field day panning the new album, which affected YES for quite some time, while the fans embraced the work. The album should have been aired on Radio One in the UK, prior to the tour and official release date but, due to a mix up, the wrong tapes were sent to the station. Because of this, YES lost their only chance of giving their fans a preview of Topographic Oceans before the tour started. Despite the public’s initial shock, Tales From Topographic Oceans hit the UK charts (two months later than expected) on 22 December 1973 and stayed there for fifteen weeks, reaching Number 1 in the UK in January 1974, whilst also making the Top Ten in the US Billboard chart. It went gold on pre-sales alone and was nominated for Grammy awards in the US.

There is little doubt that, had the public and press been given the chance to hear the album first, then the reaction that was to come might have been moderated. Quite unlike anything before it, Tales From Topographic Oceans did receive some good press, but, for the first time, YES were also attracting negative reviews. With no time to acclimatise themselves to the work, the press could not comprehend the scale of what YES had done. The band’s gamble in playing all 80 minutes of the album, plus Close to the Edge, in the same set was just too much for them. Headlines such as ‘Over The Edge‘, ‘Wishy Washy Tales from the Deep‘ and ‘Adrift on the Oceans‘ ran in the same music papers that had recently hailed them as the best band in the world. This was a new experience for YES, whose relationship with the press had been extremely amicable up to this point. Ironically, back in September, YES had been voted Band of the Year in the Melody Maker 1973 Pop Poll Awards, defeating the likes of Led Zeppelin to the coveted position.

The four tracks that made up Tales From Topographic Oceans were ‘>The Revealing Science of God‘, ‘The Remembering‘, ‘The Ancient‘ and ‘Ritual‘. A stunning album, light years ahead of its time, it is full of contrasts and a huge diversity of arrangements and styles: from simple acoustic sounds to the all-out, fast and furious guitar and keyboard runs, from ancient rhythms to eerie, esoteric lyrics and noises, all engineered to form a unique musical adventure.

Yes started the Tales from Topographic Oceans Tour at Winter Gardens, Bournemouth in November 1973 and covered the entire country before ending in December. Following the fantastically successful collaboration between Roger Dean and his brother Martyn on the Tales From Topographic Oceans album cover, the Deans copied a number of stylistic features for the stage design. YES wanted to present their show as an extension of listening to the album, incorporating other elements to provide a complete sensory experience.

The stage set-up for the shows saw the band situated in their standard positions, with Alan on a centre drum riser.To his right, Rick played stylised organ pipes, which looked extremely dramatic alongside Alan’s fibreglass canopy drum rostrum – lit from the inside creating the appearance of changing shapes, representing anything from animals and flowers to machines.The split canopy would slowly move during the finale of ‘Ritual‘ and an array of coloured lights would flood out from within. ‘When you think we worked on minuscule budgets, compared to what other people were getting, we achieved quite dramatic effects,‘ recalls Roger. ‘Some designers were working with budgets literally a hundred times greater than we were spending.

By this stage Steve had become a vegetarian, like most of the band. ‘Travelling and performing caused me to think more about what I was eating,‘ explained Steve. ‘For a long time, something bothered me about eating meat, although I couldn’t quite place it. Then, while travelling in America, having dinner one night, and having this chicken placed in front of me – it was typically overcooked, greasy, you know, probably microwaved – I just right there made this decision not to eat it and I felt good about the decision. It stuck with me. My wife and I became interested in classes offered at the East West Centre like reflexology and psychosynthesis. I began going for treatments. We were really getting going. And we gave up the idea of “take-away” instant solutions to health.

Rick was the only member of the band not drawn into vegetarianism, following instead, a more orthodox, rock’n’roll star lifestyle. Besides his legendary drinking habits, he was also seriously into cars. ‘I have a Rolls Royce, which is about fifteen years old. Also a Cadillac and a Jaguar XK 150s, which is in immaculate condition – well, they all are! I don’t believe in sticking my money in the building society so I invested in cars instead. As time goes by, they’ll be worth a bomb!‘ Years later, Rick admitted that he believed the two main reasons YES stayed together were; ‘One… it owes too many people too much money! Two… it spends any income before it’s earned it!

Bill Turner, a roadie for YES between the years 1972-74 remembers, ‘I started to work with YES through Hemdale films. I basically humped stuff around on various YES tours. I did the famous five nights at the Rainbow Theatre for the Tales From Topographic Oceans tour.

I did the dry ice for ‘Close To The Edge‘ and I used to winch the wings up and down on top of Alan’s drum staging for ‘Ritual.’ Rick was so cheesed-off in those days he would just walk off stage, he either had crates of beer behind his keyboards or he’d resort to a glove puppet that would wave to the audience when he was bored. That was great, ha! When it got too much, he would bring out the green plastic dinosaur toy and wind it up and let it walk across the stage. Very funny that one.

Bill continued, ‘YES were into football in a big way. We played in the music industry league. It was funny. We played teams like EMI and the Wormwood Scrubs Prison. They would turn up in a van and the rest of YES would come along in about five different Bentleys, crazy times.

Whilst waiting for the US tour to start, Rick Wakeman began work on his next solo project based on Jules Verne’s science-fiction classic Journey to the Centre of the Earth, a huge financial undertaking that carried more than a few risks. Rick planned to record the album from an evening’s live performance at the Royal Albert Hall, where he would be accompanied by a five-piece electric band, the 60-strong English Chamber Choir and the 100-piece London Symphony Orchestra. Despite various setbacks, on 18 January 1974, Rick pulled it off. It was an enormous feat and subsequently the album was a huge success. Then, in February, YES began their Spring North American tour.

As the tour progressed, it became clear that YES had taken a huge risk in a set list comprised only of Edge and the four sides of Topographic. Consequently the old favourites were reintroduced and two sides of Topographic dropped, increasing the divide that had already arisen between Rick Wakeman and the rest of the band.

Rick began to express his unhappiness with the album in various interviews. ‘Despite all our different lifestyles, we had survived because when we got together musically, it all worked. We had five totally different people in the band. Usually the music brought us together. Then we did Tales From Topographic Oceans which, to put it bluntly, was not my favourite album. I’ll own up. Jon and I have had some conversations about this since. We both agree that is CDs had been available then there was enough good material on that album to make a 50-minute CD. we had a bit too much to go on an album of 36 minutes but not enough for a double album. So it was padded mercilessly. And that really upset me.

YES had a massive fan base and were achieving big sales at this point, something that they did not want put at risk by Rick’s unease. Press indifference to the album had resulted in heated discussions within the band. After speaking openly amongst themselves, it became obvious that it wasn’t just Rick who had not enjoyed performing Topographic Oceans on tour, but also Chris. Set against them were Jon and Steve, threatening a schism within the band. At the end of the tour, Rick decided to leave the band and,on 18 May 1974,his birthday,he quit YES and took refuge at his farm house in Devon, whilst his second solo album went to the number one spot in the UK charts.

Rick commented, ‘I had some great times and some lousy times. It was a band that was bonded together by music. There was little love lost. It wasn’t bad until things got to a stage where I didn’t know what direction the music was going in. I didn’t enjoy Tales from Topographic Oceans, so I finished out the European tour we were doing and left…

Excerpted from David Watkinson’s ‘Perpetual Change‘.

Pages from the Tales From Topographic Oceans Tour Book

Lyrics

Click on the song title to view the lyrics.

THE REVEALING SCIENCE OF GOD (DANCE OF DAWN)

SHRUTIS: The Revealing Science of God can be seen as an ever-opening flower
in which simple truths emerge examining the complexities and magic of the past
and how we should not forget the song that has been left to us to hear. The
knowledge of God is a search, constant and clear.

Dawn of light lying between a silence and sold sources,
Chased amid fusions of wonder, in moments hardly seen forgotten
Coloured in pastures of chance dancing leaves cast spells of challenge,
Amused but real in thought, we fled from the sea whole.
Dawn of thought transferred through moments of days undersearching earth
Revealing corridors of time provoking memories, disjointed but with purpose,
Craving penetrations offer links with the self instructor’s sharp
and tender love as we took to the air, a picture of distance.
Dawn of our power we amuse redescending as fast as misused
Expression, as only to teach love as to reveal passion chasing
Late into corners, and we danced from the ocean.
Dawn of love sent within us colours of awakening among the many
Won’t to follow, only tunes of a different age, as the links span
Our endless caresses for the freedom of life everlasting.

Talk to the sunlight caller
Soft summer mover distance mine

Called out a tune but I never saw the face
Heard but not replaced
I ventured to talk, but I never lost my place

Cast out a spell rendered for the light of day
Lost in lights array
I ventured to see, as the sound began to play

What happened to this song we once knew so well
Signed promise for moments caught within the spell
I must have waited all my life for this
Moment moment

The future poised with the splendour just begun
The light we were as one
And crowded through the curtains of liquid into sun

And for a moment when our world had filled the skies
Magic turned our eyes
To feast on the treasure set for our strange device

What happened to wonders we once knew so well
Did we forget what happened surely we can tell
We must have waited all our lives for this
Moment moment moment

Star light movements in seasons
Release forward
Tallest rainbow
Sun shower seasons
Life flower reasons

They move fast, they tell me,
But I just can’t believe that I can feel it
There’s someone, to tell you,
amid the challenge we look around in unison with you

Getting over overhanging trees
Let them rape the forest
Thoughts would send our fusion
Clearly to be home

Getting over wars we do not mean
Or so it seems so clearly
Sheltered with our passion
Clearly to be home

They move fast, they tell me,
But I just can’t believe they really mean to
There’s someone, to tell you,
And I just can’t believe our song will leave you
Skyline teacher
Warland seeker
Send out poison
Cast iron leader

And through the rhythm of moving slowly
Sent through the rhythm work out the story
Move over glory to sons of old fighters past.
Young Christians see it from the beginning
Old people feel it that’s what they’re saying
Move over glory to sons of old fighters past.

The move fast, they tell me,
But I just can’t believe they really mean to
There’s someone, to tell you,
A course towards a universal season

Getting over overhanging trees let them
Rape the forest, they might stand and leave them
Clearly to be home
Getting over wars we do not mean
We charm the movement suffers
Call out all our memories
Clearly to be home

We’ve moved fast
We need love
A part we offer is our only freedom

What happened to this song we once knew so well
Signed promise for moments caught within the spell
We must have waited all our lives for this
Moment moment

Past present movers moments we’ll process the future, but only
To touch him we know, send flowered rainbows
That chased flowers of dark and lights of songs
To you, show all we feel for and know of, cast round,
Youth is the truth accepting that reasons will relive
And breathe hope and chase and love
For you and you and you


WRITTEN BY

Jon Anderson/Steve Howe


PEFORMED BY

Jon Anderson: lead vocals, timpani, harp, tambourine
Steve Howe: guitars, timpani, vocals
Chris Squire: bass guitar, timpani, vocals
Rick Wakeman: Minimoog synthesiser, Mellotron, Hammond organ, pipe organ, RMI Electra Piano, grand piano
Alan White: drums, percussion


PRODUCED BY

Eddie Offord & Yes


THE REMEMBERING (HIGH THE MEMORY)

SURITIS: The Remembering. All our thoughts, impressions, knowledge, fears,
have been developing for millions of years. What we can relate to is our own
past, our own life, our own history. Here, it is especially Rick’s keyboards
which bring alive the ebb and flow and depth of our mind’s eye; the
topographic ocean. Hopefully we should appreciate that given points in time
are not so significant as the nature of what is impressed on the mind, and how
it is retained and used.

As the silence of the seasons on we relive abridge sails afloat
As to call light to the soul shall sing of the velvet sailors’ course on
Of the velvet sailors’ course on
Shine or moons send me memories trail over days of forgotten tales
Course the compass to offer into a time we’ve all seen on
Into a time we’ve all seen on

High the memory carry on
While the moments start to linger
Sail away among your dreams
The strength regains us in between our time
The strength regains us in between our time

As we shall speak to differ also the ends meet the river’s son
So the ends meet the river’s son

Ours the story shall we carry on
And search the forest of the sun
We dream as we dream! Dream as one
And I do think very well
That the song might take you silently
They move fast
They tell me
There’s someone rainbow
Alternate tune

In the days of summers so long
We danced as evenings sang their song
We wander out the days so long
And I do feel very well
That the evenings take you
Silently, they move round
Sunlight, seeing ground
Whispers of clay
Alternate ways

Softer messages bringing light to a truth long forgotten on
As we shall speak to differ also the ends meet the river’s son
So the ends meet the river’s son

I reach over and the fruit of life stands still
Stand awhile we search our past we start anew
The music sings of love you knew
We walk around the story

Out in the city running free
Sands of companions sides that be
The strength of the meeting lies with you
Wait all the more regard your past
School gates remind us of our class
Chase all confusion away with us

Stand on hills of long forgotten yesterdays
Pass amongst your memories told returning ways
As certain as we walk today
We walk around the story

Out in the city running free
Days pass as seconds turn the key
The strength of the moment lies with you

Don the cap and close your eyes imagine yourself that is the challenge
Iron metal cast to other
Distant drums

Force the bit between the mouth of freedom didn’t learn to fly
Remember to sail the skies
Distant suns
Will we reach
Winds allow
Other skylines
Other skylines to hold you

Relayer
All the dying cried before you
Relayer
We’ve rejoiced in all their meaning
Relayer
We advance we retrace our stories

Like a dreamer all our lives are only lost begotten changes
We relive in seagull’s pages
Outwards ways

Things are all in colours and the size of other’s shall send you forward
Arranged to sail you toward
A peace of mind
Will we reach
Winds allow
Other skylines
Other skylines to hold you

Relayer
All the passion spent on one cross
Relayer
Sail the futile wars they suffer
Relayer
We advance we retrace our story, fail safe now

Stand on hills of long forgotten yesterdays
Pass amongst your memories told returning ways
As certain as we walk today
Press over moments leaving you

Out in the city running free
Days pass as seconds turn the key
The strength of the moment lies with you
Out tender outward lights of you
Shine over mountains make the view
The strength of you seeing lies with you

Ours entrace we surely carry on
And change the passing of the sun
We don’t even need to try we are one

And I do think very well
As the truth unfolds you
Silently
They move time
Rainbows
Sunlight
Alternate tune
Alternate tune

Rainbows
Soft light
Alternate view
Sunlight
Tell Me
Someone
Alternate view
Alternate view, surely, surely


WRITTEN BY

Jon Anderson/Steve Howe/Chris Squire/Rick Wakeman/Alan White


PEFORMED BY

Jon Anderson: lead vocals, timpani, harp, tambourine
Steve Howe: guitars, timpani, vocals
Chris Squire: bass guitar, timpani, vocals
Rick Wakeman: Minimoog synthesiser, Mellotron, Hammond organ, pipe organ, RMI Electra Piano, grand piano
Alan White: drums, percussion


PRODUCED BY

Eddie Offord & Yes


THE ANCIENTS (GIANTS UNDER THE SUN)

PURANAS: The Ancient probes still further into the past beyond the point of
remembering. Here Steve’s guitar is pivotal in sharpening reflection on the
beauties and treasures of lots civilisations, Indian, Chinese, Central
American, Atlantean. These and other people left an immense treasure of
knowledge.

As one with the knowledge and magic of the source
Atuned to the majesty of music
They marched as one with earth

Sol, Dhoop
Sun
Ilios
Naytheet
Ah Kin
Saule
Tanatiuh
Qurax
Gunes, Grian
Surie
Ir
Samse

So the flowering creativity of life wove its
Web face to face with the shallow
And their gods sought out and conquered: Ah Kin

Do the leaves of green stay greener through the autumn
Does the colour of the sun turn crimson white
Does a a shadow come between us in the winter
Is the movement really light

And I heard a million voices singing
Acting to the story that they had heard about
Does one child know the secret and can say it
Or does it all come out along without you
Along without you
Along without you

Where does reason stop and killing just take over
Does a lamb cry out before we shoot it dead
Are there many more in comfort understanding
Is the movement in the head

And I heard a million voices singing
Acting to the story that they had heard about
Does one child know the secret and can say it
Or does it all come out along without you
Along without you
Along without you


WRITTEN BY

Jon Anderson/Steve Howe/Chris Squire/


PEFORMED BY

Jon Anderson: lead vocals, timpani, harp, tambourine
Steve Howe: guitars, timpani, vocals
Chris Squire: bass guitar, timpani, vocals
Rick Wakeman: Minimoog synthesiser, Mellotron, Hammond organ, pipe organ, RMI Electra Piano, grand piano
Alan White: drums, percussion


PRODUCED BY

Eddie Offord & Yes


RITUAL (NOUS SOMMES DU SOLEIL)

TANTRAS: The ritual seven notes of freedom to learn and to know the ritual of
life. Life is a fight between sources of evil and pure love. Alan and Chris
present and relay the struggle out of which comes a positive source. Nous
sommes du soleil. We are of the sun. We can see.

Nous sommes du soleil we love when we play
Nous sommes du soleil we love when we play

Open doors we find our way
We look we see we smile
Surely daybreaks cross our path
And stay maybe a while

Let them run, let them chase
Let them hide between
Constant doors will open eyes
As life seems like
Life seems like a
Fight, fight, fight

Maybe I’ll just sing awhile
And then give you a call
Maybe I’ll just say hello
And say maybe that’s all

Hurry home as love is true
Will help us through the night
Till we’re coming home again
Our life seems like
Life seems like a
Fight, fight, fight

Catch as we look and use the passions that flow
As we try to continue
We receive all we venture to give

Maybe we’ll just stand awhile
And surely we can call
Dreams are said to blossom courage
Constant to the soul

Change we must as surely time does
Changes call the course
Held inside we enter daybreaks
Asking for asking four
The source
The source
The source
Sent as we sing our music’s total retain

As we try and consider
We receive all we venture to give
All we say is our
Soul constant sight listener
We won’t tender our song clearer
Till we sail
Then I will be there
And I will be there
As clearer companions
Shall call to be near you
They move around tell me that
Move around surely sing
As they don’t seem to matter at all
At all at all

Hold me my love, hold me today call me round
Travel we say, wander we choose love tune
Lay upon me, hold me around lasting hours
We love when we play

We hear a sound and alter our returning
We drift the shadows and course our way on home
Flying home
Going home

Look me my love sentences move dancing away
We join we receive
As our song memories long hope in a way
Nous sommes do soleil
Hold, me around, lasting ours
We love when we play
Nous sommes do soleil
Nous sommes du soleil
Nous sommes du soleil


WRITTEN BY

Jon Anderson/Steve Howe


PEFORMED BY

Jon Anderson: lead vocals, timpani, harp, tambourine
Steve Howe: guitars, timpani, vocals
Chris Squire: bass guitar, timpani, vocals
Rick Wakeman: Minimoog synthesiser, Mellotron, Hammond organ, pipe organ, RMI Electra Piano, grand piano
Alan White: drums, percussion


PRODUCED BY

Eddie Offord & Yes



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