Yes: Tales from Topographic Oceans (Super Deluxe Edition) (Atlantic/Rhino, 2 LP + 12 CDs + Blu-ray). Yes’ January 1974 album is one of the most ambitious albums in rock history, the original configuration being two vinyl discs with only one track on each side. The result was an almost 81-minute masterwork that followed two highly successful albums in “Fragile” (1971) and “Close to the Edge” (1972). The album received mixed reviews, but had commercial success, including in England, where it was released a month earlier. Unfortunately, it also marked keyboardist Rick Wakeman’s departure from the band, as he quit after the subsequent tour to pursue a solo career.

The massive collection holds 12 CDs, 2 LPs and a Blu-ray, and features a newly remastered version of the original double album on both CD and vinyl; rarities; previously unreleased studio and live recordings; and several new mixes by Steven Wilson, including a Dolby Atmos version. There are three versions of the album on 2 CDs each: the original album remastered, Wilson’s 2026 remixes and Wilson’s 2026 instrumental mixes.

The origins behind “Tales from Topographic Oceans” trace back to a footnote in Paramahansa Yogananda’s “Autobiography of a Yogi,” which inspired Jon Anderson to imagine a four-part musical journey through ancient Hindu scriptures. That concept took shape across the four side-long compositions: “The Revealing Science of God (Dance of the Dawn),” “The Remembering (High the Memory),” “The Ancient (Giants Under the Sun)” and “Ritual (Nous Sommes Du Soleil).”

To capture the album’s structural and spiritual ambition, vocalist Anderson, guitarist Steve Howe, bassist Chris Squire, keyboardist Wakeman and new drummer Alan White worked with longtime producer Eddy Offord at London’s Morgan Studios, using Britain’s first 24-track console. The album topped the U.K. album chart and reached No. 6 in the U.S., where it earned gold certification.

The original album has three tracks of 20 or more minutes and one of 18 minutes. “The Revealing Science of God (Dance of the Dawn)” starts with a soft Anderson vocal, which then turns into a chant before Wakeman’s keyboards and White’s drums come in. Wakeman also is the key player in “The Remembering (High the Memory),” as he adds intrigue to the music. Once again, the track builds towards the end.

“The Ancient (Giants Under the Sun)” has a gong and percussion start, and more of a siren sound to Howe’s guitar. Around 14 minutes, there is a nice acoustic guitar and piano section. “Ritual (Nous Sommes Du Soleil),” which often was played separately in future concerts, after the tour in which the album was played whole (Wakeman disliked playing the album whole), becomes very percussive around the 15-minute mark.

According to Howe, “We played side one a lot in the 2000s, side four was always joyous and a big bash to play at the end of the show, and side three, ‘The Ancient (Giants Under the Sun),’ is the most experimental side.”

The new remaster and the Wilson remix are excellent, as Wilson’s goal is always to remain faithful to the spirit of the original mix, but scraping away some sonic haze. Wilson’s work is a fresh view, with an occasional alternate slipped in for a missing overdub. The instrumental versions allow more attention to the details of the tracks, especially Wakeman’s contributions.

CD seven contains five single edits (2 of “Ritual”), all 4:19 or less, as well as a first version of “The Revealing Science of God” and in-progress versions of “The Remembering” and “The Ancient.” All have been previously released on either the 2016 or 2003 editions. I most enjoyed the second version of “Ritual” and the dynamic keyboards around the 18-minute mark of the first version of “The Revealing Science of God.”

CD eight continues with previously-unreleased in-progress versions of “The Revealing Science of God” (2 versions) and “The Ancient.” CD nine has previously-unreleased in-progress versions of “The Remembering” and “Ritual,” plus the second version of “The Revealing Science of God,” from the 2016 edition. There are four early versions of “The Revealing,” all of different lengths, including one of almost 28 minutes. The latter has an extended intro and lots of variation in its second half.

The remaining three CDs are from 1973 concerts in Manchester, England and Cardiff in Wales, and a 1974 show in Zurich, Switzerland. All but the last performance are new releases. All four parts of “Tales” are included live.

“The Remembering” and “The Ancient” from November 1973 in Manchester was before the album was released. Writer Syd Schwartz of Jazz & Coffee, in his sleeve notes, writes that “The Remembering” was positioned as a live feature for Wakeman’s keyboards, but as the tour progressed, he stopped taking the opportunity. The Manchester version, while not being a complete one, has an epic Wakeman keyboard exploration.

CDs 11 and 12 contain much of the Zurich show, including highlight versions of their earlier “And You and I” and “Close to the Edge,” both containing four parts. From “Tales,” Yes performs “The Revealing Science of God,” “The Ancient” and “Ritual,” the latter being the only previously released (2016) live track. “The Revealing” has an early fade, so it is the only album track without a full live version.

The Blu-ray contains new Dolby Atmos, 5.1, stereo remix, original album remaster and instrumental remix.

According to Schwartz in the 16-page, vinyl-sized booklet, “Consensus was never the point. ‘Tales’ 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.” Grade: box set A

Yes: Symphonic Live (Mercury Studios/Universal, Blu-ray + 2 CDs, 194 min.). This special concert was recorded in Amsterdam on Nov. 22, 2001, when Yes had been reduced to the quartet of singer/guitarist Jon Anderson, guitarist Steve Howe, bassist Chris Squire and drummer Alan White. For the tour, keyboardist Tom Brislin was added. Backing the band is the European Festival Orchestra, conducted by Wilhelm Keitel. The 167-minute concert contains an overture and 13 selections from the band’s symphonic album “Magnification” (September 2001) and new arrangements of some of their classic songs.

After the short overture, the show opens wonderfully with a 20-minute “Close to the Edge.” Howe’s guitar begins the piece and there are lots of strings, mainly for emphasis. They are especially effective during the “Close to the edge” lines. There are horns and a harp during the quiet section about 12 minutes in. The orchestra provides very nice backing throughout the concert, with its mostly young members often gesturing emphatically – for example, when the French horns are waved during this number.

“Long Distance Runaround” continues the strong, classic numbers, before the band turns to the “Magnification” album for the more pop-sounding “Don’t Go” and the four-part “In the Presence of.”

The band then launches into another long number, “The Gates of Delerium” (22:48), which was inspired by Leo Tolstoy’s “War and Peace.” The early war sequence is accompanied by black-and-white newsreel combat scenes. Later, the combat/aftermath scenes are animated. The piece ends with the softer “Soon” section.

After Howe’s well-received guitar solo, the band plays the 12-minute “Starship Trooper,” which shines with Howe’s guitar throughout and its resounding ending. The band then plays the new “Magnification” for the very first time.

During the 11-minute “And You and I,” there are metallic-looking, starry images, including two robots, one of which has wings added and takes flight. Next is a 28-minute “Ritual (Nous Sommes Du Soleil)” from “Tales from Topographic Oceans,” which includes bass and drum solos. (Sadly, bassist Squire died in 2015 and drummer White died in 2022.)

What remains are three shorter numbers, the main set ender “I’ve Seen All Good People,” and the orchestra-less encore of “Owner of a Lonely Heart” and “Roundabout,” all topnotch. Some orchestra members, mostly female, come out and dance behind Howe, Anderson and Squire during “Roundabout.” Interesting, the last two numbers both have instantly recognizable opening guitar riffs.

The Blu-ray has two bonus features. The first is a documentary about the tour and the making of the “Magnification” album (31:52), while the other is a music video for “Don’t Go” (4:29).

The mini-box also comes with new artwork and liner notes by artist Bob Cesca, a set of five art cards and a double-sided poster. The 2 CDs of the concert have been remastered. Grade: set A