Customer Reviews

Going for the One

5 star:		(116)
4 star:		(28)
3 star:		(16)
2 star:		(5)
1 star:		(2)

 

 

Along with "Close To The Edge", this is Yes at their very finest. This is when songs were over 16 minutes long not simply because they could be but because it takes that long to take you on one music's finest explorations. The musicianship, arrangement, emotion and atmosphere surrounding this work is inspired.

"Going For The One" is a lock-on tight, gutsy rocker with a healthy slice of slide guitar work from Steve Howe. "Turn Of The Century" is just beautiful, a haunting piece of work with possibly Jon Anderson's finest lyrics of his career. "Parallels" sounds huge, helped in no small way by Rick Wakeman's contribution on the Vevey pipe organ; the overall effect is magnificent.

"Wonderous Stories" was my introduction to Yes when I was six years old. I was musically inclined and the haunting melodies appealed far more than the loud, brash, angry music that punk brought with it around that time. Twenty-three years later, it's still one of my favourite pieces of music and still for the same reasons - it inspired me to learn about music and to play an instrument.

Then there's "Awaken". Personally, this goes beyond music. It is their most affecting, uplifting and involving work. It's long, goes everywhere, does everything and it's perfect. Zappa once said that writing about music was like dancing about architecture. That's fine by me... so, "Awaken" is the greatest palace ever built and the choreographer will be here in 15 minutes to celebrate its majesty.

Yes don't appeal to everyone's taste; if you can't stand Jon Anderson's high-pitched vocal, all the great things I could say will mean nothing. But for the rest of us, it the reason we keep coming back to this band and we'll be endlessly forgiving. Not every album they've made is so deserving, but this is among the exceptions where I have no hesitation whatsoever is saying 5 stars is totally justified and if anything, an understatement. Essential.

As noted, Atlantic remastered much of Yes' classic catalog a few years back. Now, Rhino is having a go at it. The Rhino versions differ than the Atlantic versions, in that they feature bonus tracks. Most of the bonus tracks to these Rhino re-issues are disposable, but on this particular re-issue, you get a few bonus tracks that were found on the _Yesyears_ boxed set, which means that fans who don't want to shell out the extra cash for these tracks, can now get them for less.

Yes released this magnificent, often overlooked gem in 1977: a time when art rock was being scoffed at as pretentious and overblown. Punk had surged forth, and Johnny Rotten & Co. had a field day ripping Yes, Pink Floyd, Queen and others. It would appear during that time (at least during the making of this album), the members of Yes didn't give a darn about the trends of the day, as their usual cosmic, soaring, mystical aesthetic pervades the album in a big way (which is a good thing.)

The music on here is splendid - soaring, lush, illuminating -- an orgasm for the soul. Jon Anderson's vocals soar high, Steve Howe's guitar playing stuns as usual, and is very fluid, Chris Squire's (and Steve's) backing, majestic vocals blend magnificently with Jon's (and not to mention the man's bass playing), Rick Wakeman (who makes his return with Yes for the first time since 1973's _Tales From Topographic Oceans_) supplies his virtuosic, classically-oriented flourishes not just through synthesizers, but also a church organ, and other types of keyboards.

Alan White is possibly one of the most underacknowledged drummers out there. His drumming skills possibly go largely unnoticed due to the overpowering cosmic front brought on by the other members of the band. With this powerfully compelling, lush exterior Yes possesses, how could one possibly be fully aware of subtle nuances that are arguably beneath the surface? While many of us are being lifted higher to some heavenly place, it is all too common to miss the technical brilliance that is going on. Alan's drumming is the perfect example for this. While all of the cosmic stuff is knocking us sideways, Alan is in the background doing all sorts of creative and impressive things on the kit: his sense of time, the creative use (and placement) of the cymbals and snare hits during a certain meter, and other subtle things should not be taken lightly. This is just one of the many, many, many reasons why I think Yes are special: they possess technical brilliance, but they have something else as well -- something that's arguably even more powerful and intangible than their technical abilities.

The title track, while cosmic and grand, is quite raucous, mostly due to the steel guitar musings from Steve Howe. It can be grating at times, but it also helps to give the track a harder edge. The rhythmical quality of the vocals during the bridge (repeated once more before the ending) is quite creative and seductive. This, and more, help to lead up to the orgasmic, goosebump-inducing climax of the song, which feature choral effects from the vocal harmonies.

"Turn of The Century" is a smooth, mystical, ballad with a new age aesthetic. The lyrics on here are touching, and the soundscapes are ethereal and image-inducing as ever. Jon's vocals are outstanding as always. Sonic textures mostly brought on by Steve's musings during the middle of the track give way to the ethereal, majestic climax near the end of the song.

"Parallels" is written by Chris Squire, and is grand and soaring as ever. Rick's use of the church organ here certainly adds more of a mystical, spiritual and regal quality to the track. This track, while cosmic on the outside, is quite busy underneath it all. Check out the time changes, the multiple vocal layers, and the instrumentation that is going on all at once -- Rick's keyboard lines, Steve's guitar lines, Chris' basslines, and Alan's drumming.

"Wonderous Stories" is much like "Turn of The Century" -- a ballad with a mystical, new age aesthetic. Jon's vocals, as always, are precious and moving. Steve's guitar lines here are quite melodic, and what's impressive are how well they blend in with the rest of the instrumentation.

"Awaken" is classic. Like the rest of the album -- but more specifically, here -- it is almost impossible to put into account the effect it has on me. It's the 15-minute closer of the album, and boy, is it ever so good. Grand, lush, soaring, illuminating -- this track soars, and it shines as bright as the sun. The massive bed of sound just smothers your senses, and does not let go. Yes even got a church choir to add their voices in certain parts of the track. It is the most goosebump-inducing song on the album, and is also my favorite Yes song. There is quite a bit of stuff going on here -- the vocal harmonies are penetrating, the basslines tasteful, Steve's solos orgasmic. On a different listening session, when you're not being seduced by the powerful cosmic aura of this music -- or when you're trying your hardest not to be -- pay attention to the technical stuff going on in these songs. In this track, one of the many things I'd like to talk about is Alan's drumming: pay special attention to what Alan is doing on the drum kit, especially during the "suns high streams thru," "strong dreams reign here," and "star, song, age, less" sections of the track. It's quite nifty.

This is an excellent album from Yes. Highly recommended -- that is, if you are a Yes fan, own (and love) all of their studio albums, particularly from the 1971-1974 period, but do not own this. Don't pass it by.

Yes released this magnificent, often overlooked gem in 1977: a time when art rock was being scoffed at as pretentious and overblown. Punk had surged forth, and Johnny Rotten & Co. had a field day ripping Yes, Pink Floyd, Queen and others. It would appear during that time (at least during the making of this album), the members of Yes didn't give a darn about the trends of the day, as their usual cosmic, soaring, mystical aesthetic pervades the album in a big way (which is a good thing.)

The music on here is splendid - soaring, lush, illuminating -- an orgasm for the soul. Jon Anderson's vocals soar high, Steve Howe's guitar playing stuns as usual, and is very fluid, Chris Squire's (and Steve's) backing, majestic vocals blend magnificently with Jon's (and not to mention the man's bass playing), Rick Wakeman (who makes his return with Yes for the first time since 1973's _Tales From Topographic Oceans_) supplies his virtuosic, classically-oriented flourishes not just through synthesizers, but also a church organ, and other types of keyboards.

Alan White is possibly one of the most underacknowledged drummers out there. His drumming skills possibly go largely unnoticed due to the overpowering cosmic front brought on by the other members of the band. With this powerfully compelling, lush exterior Yes possesses, how could one possibly be fully aware of subtle nuances that are arguably beneath the surface? While many of us are being lifted higher to some heavenly place, it is all too common to miss the technical brilliance that is going on. Alan's drumming is the perfect example for this. While all of the cosmic stuff is knocking us sideways, Alan is in the background doing all sorts of creative and impressive things on the kit: his sense of time, the creative use (and placement) of the cymbals and snare hits during a certain meter, and other subtle things should not be taken lightly. This is just one of the many, many, many reasons why I think Yes are special: they possess technical brilliance, but they have something else as well -- something that's arguably even more powerful and intangible than their technical abilities.

The title track, while cosmic and grand, is quite raucous, mostly due to the steel guitar musings from Steve Howe. It can be grating at times, but it also helps to give the track a harder edge. The rhythmical quality of the vocals during the bridge (repeated once more before the ending) is quite creative and seductive. This, and more, help to lead up to the orgasmic, goosebump-inducing climax of the song, which feature choral effects from the vocal harmonies.

"Turn of The Century" is a smooth, mystical, ballad with a new age aesthetic. The lyrics on here are touching, and the soundscapes are ethereal and image-inducing as ever. Jon's vocals are outstanding as always. Sonic textures mostly brought on by Steve's musings during the middle of the track give way to the ethereal, majestic climax near the end of the song.

"Parallels" is written by Chris Squire, and is grand and soaring as ever. Rick's use of the church organ here certainly adds more of a mystical, spiritual and regal quality to the track. This track, while cosmic on the outside, is quite busy underneath it all. Check out the time changes, the multiple vocal layers, and the instrumentation that is going on all at once -- Rick's keyboard lines, Steve's guitar lines, Chris' basslines, and Alan's drumming.

"Wonderous Stories" is much like "Turn of The Century" -- a ballad with a mystical, new age aesthetic. Jon's vocals, as always, are precious and moving. Steve's guitar lines here are quite melodic, and what's impressive are how well they blend in with the rest of the instrumentation.

"Awaken" is classic. Like the rest of the album -- but more specifically, here -- it is almost impossible to put into account the effect it has on me. It's the 15-minute closer of the album, and boy, is it ever so good. Grand, lush, soaring, illuminating -- this track soars, and it shines as bright as the sun. The massive bed of sound just smothers your senses, and does not let go. Yes even got a church choir to add their voices in certain parts of the track. It is the most goosebump-inducing song on the album, and is also my favorite Yes song. There is quite a bit of stuff going on here -- the vocal harmonies are penetrating, the basslines tasteful, Steve's solos orgasmic. On a different listening session, when you're not being seduced by the powerful cosmic aura of this music -- or when you're trying your hardest not to be -- pay attention to the technical stuff going on in these songs. In this track, one of the many things I'd like to talk about is Alan's drumming: pay special attention to what Alan is doing on the drum kit, especially during the "suns high streams thru," "strong dreams reign here," and "star, song, age, less" sections of the track. It's quite nifty.

This is an excellent album from Yes. Highly recommended -- that is, if you are a Yes fan, own (and love) all of their studio albums, particularly from the 1971-1974 period, but do not own this. Don't pass it by.

This is probably the best Yes CD with members Jon Anderson, Rick Wakeman (who had returned to Yes after leaving in 1974), Chris Squire, Steve Howe, and Alan White. With the exception of 2 songs, the shorter song format is favored here for the 1st time snce "Fragile". It starts with the title track with Howe playing a raucous steel guitar (definitely not like your typical country music!)! The next song "Turn of the Century" is a rare love song which is about as Victorian as you'll ever hear (also features some unique percussion work by Alan White). The next song is Chris Squire's motivational "Paralells", with Wakeman's bold procession on the church organ and Squire's melodious bass lines that follow. "Wonderous Stories" is the most peaceful song with Anderson's imaginative lyrics and Howe's acoustic guitar work. Finally, the masterpiece "Awaken" (this is the only song on GFTO which is over 10 minutes) features Anderson playing harp, Wakeman on the church organ (his playing makes you feel as if you're in a Cathedral yourself!), and Anderson closes the song with his spiritual epitath: "Like the time I ran away and turned around and you were standing close to me."

"Going For The One", originally issued in 1977, is overlooked in the Yes catalogue (the same goes for 1978's "Tormato" for that matter). It finds the band in between the truly prog-rock early years and just before the less-then-thrilling foray of Top 40 ("Owner of a Loney Heart"). I personally am very fond of this album. The album includes the hard rocking "Parallels" and the majestic "Awaken", not to mention "Wonderous Stories", still one of the band's most popular tracks after all these years.

This "Expanded and Remastered" edition (12 tracks, 79 min.) has of course the original album, but is supplemented by 7 bonus tracks. "Montreux's Theme" is an instrumental from the same sessions. "Vevey" is a live instrumental (recorded in a church!) of Jon on harp and Rick on church organ, just beautiful. "Amazing Grace" is a studio recording of Chris' amazing bass-solo, performed frequently in concert. The remaining tracks are (early) studio run-throughs of the album's tracks, providing a fascinating inside look on how the tracks sounded in their embryonic stages. "Going for the One" is here as an instrumental. "Parallels" is heard without the towering church organ. Best of all, "Eastern Number" is a 12 min. early version of what eventually would become "Awaken".

Kudos to the fine folks at Rhino for putting together this exquisite reissue, and showing others in the industry how it's done. Excellent liner notes, great pictures, fascinating bonus tracks, it's all here. Essential for any Yes fan.

Going For The One, the 8th studio album by Yes, was released after a three-year wait since the excellent Relayer (1974). In those three years, every band member that appears on this album released solo material (even Alan White!). This might explain the fact that three of the five song here are credited to one person, whereas earlier compositions were group efforts. This album signaled a return to the more concise style of songwriting of the first four albums. As Rick Wakeman said: "Yes were writing songs again.". Still, there's a 15-minute epic, so this is still familiar ground to fans of "Gates of Delirium" and the like.

1) Going For The One (10/10). This song will always divide fans into two camps. The vocals are a little high-pitched and the music a little twee, but it's exactly this adventurous spirit that makes Yes Yes. Steve Howe's slide guitar solo is absolutely orgasmic and Chris Squire's backing vocals are GENIUS! Get the fantastic "Yesyears" DVD to see studio footage of this master at work with the backing vox.
2) Turn of the Century (10/10) A religious experience to say the least! No drums intruding on the hallowed melody. The instrumental section led by Wakeman's classical piano and Howe's wailing guitar is a taste of what's to come...
3) Parallels (10/10) A Chris Squire-penned chugging rocker featuring the best use of church organ ever. Alan White has some opportunity to show off towards the end as well.
4) Wondrous Stories (9/10). Jon Anderson's hippy strum-along and surprise hit single. Altogether well-executed and memorable. Also features the tacky keyboard sound Wakeman would employ on Tormato the following year.
5) Awaken (10/10). Possibly the greatest Yes piece ever. Starts off with a gorgeous piano flourish and Jon Anderson's dulcet tones. Then comes the awesome, tricky time-signature and chanting. Features an ethereal harp and organ section.

This is the greatest Yes album of the 70's. They would reach another peak in 1984 with 90125 (if you don't think "Leave It" is genius...), but this album represent everything great about Yes.

Like this? Try these:
1) Yes - Tormato (but listen to it first)
2) Genesis - Wind & Wuthering (epic, odd time-signatures and a minor hit)

This album is my second favourite Yes album after the glorious, "Close To The Edge". All five pieces on this album are classic, from the delicate "Wondrous Stories" and "Turn of the Century", to the rocking "Going for the One" and "Parallels" to the intensly spiritual epic "Awaken".

"Awaken" is an extremely forward-looking piece of music. It combines exotic percussion (before "World Music" was popularized), ambient moods (before "New Age" music), church music and hard rock. The lyrics are some of Jon Anderson's best. To me, this is certainly the most moving piece of music that Yes, or maybe any rock band for that matter, has created.

"Turn of the Century" is Jon Anderson's best piece of storytelling. If it doesn't touch your heartstrings, then you have a heart of stone - like the critic who discusses Yes on the Amazon.com site.

People shouldn't review what they don't understand. Also what is written is usually more reflective on the nature of the writer than on the nature of the subject. In that case, the critic is a very bitter man. Amazon.com should know better. Shame!!

Enough of that!! I have turned many people, of both genders, on to Yes with this disk. The beauty is there for all to behold. Just receive it!!

Until recently, Yes had always been my favorite progressive rock band. They've had their ups and downs, but when they were good, wow...they were really something. Going For The One was the band's final moment of greatness, serving as a coda for their prosperous epoch of the 1970s, which began with The Yes Album several years before. After this record, Yes never did anything as consistent or interesting.

I never liked any of Yes' work as much as Close to the Edge, but Going For The One just might be my second favorite. For the first time since Fragile, we get songs under ten minutes, and the band again shows they don't have to put together a colossal epic to write great music. The title track has a killer vocal hook and Steve Howe playing a C&W-esque riff on steel guitar (I don't think many other prog rockers used that thing). "Turn of the Century" is a wonderful, elegant ballad as only Jon Anderson can do them.

It's clear that Rick Wakeman (who's back on this album) likes the organ. There's a lot of it on this album, and it was recorded at St. Martin's Church in Switzerland. You wouldn't think an hulking organ - generally ascribed to moments of beauty and majesty - could be a rock n' roll instrument, but Wakeman turns it into one. Just listen to "Parallels." It's definitely unconventional, which is part of what makes it so interesting.

The 15-minute "Awaken" is one of the band's best epics, and that's no mean feat, because they have a lot of great ones. After the opening piano segment, it goes into the usual Yes characteristics: many layers of synths, guitars and bass playing out complex melodies in a pseudo-orchestral fashion. Anderson's lyrics are strange as always, but the diction is delightfully spiritual, and his radiant singing - love it or hate it - is critical for this evocative and spacey song. The ambient middle instrumental section before the "Master of..." lines is one of Yes' most sublime moments. Anderson's busts out the harp for some appreciated flourishes that add considerably to the atmosphere and magic of the song.

The original recording's production sometimes had problems balancing the vocals and the instruments. There were frustrating moments when it was hard to make out what Anderson was singing if you didn't already know the lyrics. So, the remastered edition is a good bet.

This album needed Moraz on keys for some fresh ideas.To quote Rolling Stone(yeah, they're jerky wannabe's but I find this makes some sense)critic wayne king:"the almost new-wave simpilicity (for Yes) that One conveyed was less an effective reduction of valid ideas than an admission of total artistic bankruptcy." Apply that critique to their next album, Tormato especially, and you know Yes had lost the spark that they so engagingly captured on the classic progressive albums of their's from 1971-1974. A short time but one that many bands never come close to capturing in their entire career. Steve Howe said of Moraz's depature:"...it just didn't work out with Patrick. Patrick wasn't doing anything wrong. We just weren't jelling." But Pat has a different opinion:"...we had written most of Going For The One's parts and I was having increasing difficulty trying to express my own voice...There were never any conference on what was artistically important. It was always economical." And so Yes, persuaded at this point especially to come up with something commercially viable to compete with the simplification of rock, simplified a good deal of their song arrangements for the album and made Squire's initially vigorous Parallels almost a parody of commercialized prog-rock. It originally had an ever-ascending chord sequence, perhaps that idea of which Moraz laments when discussing the endless ascension he would have given Awaken? "I personally think I did write Awaken. All of the tunes had been contributed as much by me as the other guys. Now Rick came in and put his own flavor". This was where Pat's response was one of incredulity. "I couldn't believe that they would go with that kind of sound and that kind of arrangement. .The big difference was the cycle of fifths, which was pretty elementary for me. What I was proposing to the band was the endless ascension, which is also a cycle of fifths but treated differently. Its the treatment (rising of chords) I would have given the end of Awaken." Too bad, cause something's unbalanced, and I'm not just referring to the heavy-handed, overdub/reverb-happy production. Granted, Relayer had this problem, but the songs were innovative and suitably energetic to support some wrong-headed production here and there. Anyway, Rick Wakeman is back for ol' times sake and aside from the exquisite Turn Of The Century, he sounds like he's there as a seasoned session player (which he actually was if you know your Yes history) rather than a fully-integrated member(no, this does not have the inter-band fluidity that an early album such as fragile had with Rick). This is a slick-sounding arena-prog rock album that, although finely crafted in a more stripped-down sense, is ultimately too compromised due to record company pressure and the changing music scene to be considered an innovative release like The Yes Album, Fragile, Close To The Edge, Tales From Topographic Oceans, and Relayer. Indeed, Awaken, has its profoundly uplifting moments and is, to my ears, a very good epic overall(with profound lyrics), but with pieces like Gates Of Delirium, The Revealing, and Close To The Edge, Yes already proved their point and took their epic arranging to its logical conclusion by Relayer. Music journalist Paul Stump seems to like what Awaken stands for, but calls it ultimately "words and music battling for space." Finally, of interest to Yes freaks, prog afficianado Bradley Smith wrote in his book The Billboard Guide To Progressive Music:"Later Yes studio albums Going For The One, Tormato, and 1980's Drama, are only sporadically progressive, with the band returning to less ambitious, shorter tracks...While some of the material on those recordings is an embarrassment, each disc has its fine moments and comes recommended." While Awaken is raved about by the boys and rightfully so I say, I go along with Howe that this album's real beauty(flamenco classical guitar and understated piano)is probably Turn Of The Century. Among Jon's best story-lyrics too. Achingly poingnant. Get their other albums prior to this first starting with The Yes Album in chronological order, then to this and back to their first two. It really makes sense that way, but whatever, this is a great band so this album has sufficient enough magic, even if little of the original spark or impetus remains.

Finally! A remastered and expanded edition worth getting! Not only is this one of Yes' finest albums by itself, but this version also contains many extras that are worth the purchase price alone.
In other Rhino re-issues, the so-called "expanded" pieces consist mainly of scraps that are not necessarily noteworthy enough to make a difference. The rehearsal versions issued here, on the other hand, allow the listener to see what what this band was truly capable of when it was celebrating not only commercial, but critical success as well. Truly a rare time.
The "Going for the One" jam with only Steve Howe (guitar), Chris Squire (bass), and Alan White (drums), should have been released by itself 26 years ago. Truly a masterpiece. The instrumentals that were handed out as scraps on the "Yesyears" compilation are also here in complete form, as well as working versions of "Parallels", "Turn of the Century", and "Awaken".
If you have another copy of "Going for the One", give it to someone who needs a lesson in classic progressive rock and purchase the re-issue for yourself. It's cheap!