Yes-Going For The One (1977)

For many fans of the group this album represents the last great work of the megalomaniac band, near the end of the glorious decade of the genre, so many of the positive and negative factors of the productions of these years and musical evolutions of the large groups They are reflected in this new record delivery. Be that as it may, Going for the one is one of the most prominent and decisive points in Yes's record tour. For a more or less adequate situation of the disc one would have to go back, at least, to his double work Tales from Topographic Oceans (1973), his most extensive conceptual work that marks several things. To cite some of them, the pompous and ambitious character of the group is exacerbated, both instrumental and lyrical; the march of drummer Bill Bruford and the entrance of Alan White; Wakeman's work will be deepened in the superposition of textures and atmospheres, something that in my opinion connects more with the style of using keyboards in this Going for the one (see "Turn of the century" or "Awaken") than with Wakeman's previous work in Yes, or the more fusing Relayer.
Linking with the previous paragraph, in this album we return to a structure where shorter themes predominate, although there is one that exceeds 15 minutes and another that reaches almost 10. From The Yes Album (1971) and Fragile ( 1972) Yes there was no lawyer for combining issues of various lengths, which can give greater agility to listening. Just after his three greatest works (aesthetically speaking) emerged, sometimes linked by the same idea-concept, which favored a continuous listening to the album as a whole. On the other hand, another aspect to consider is the re-appearance of the 2nd classic formation of Yes - the first would be with Bruford on drums - with the return of Rick Wakeman (replacing Patrick Moraz), a return that far from implying A stagnation of ideas anchored in the past is worked hand in hand to work in search of a more modernist sound but supported by a compositional base that had its own style and many years of work behind it.
This album can serve as a perfect paradigm of an important aesthetic change within the context of progressive mentality groups, who knew how to adapt to the tastes of the moment and the new currents without losing certain authenticity (which would occur especially between the years 1976-1978). The long epic themes (20 minutes or more) were increasingly shortened (the average could be between 8 and 14 minutes) and detached from any type of pompous connotation; The instrumental passages with dense enveloping textures and soundscapes without apparent rhythm were disappearing in favor of the reinforcement of a rhythmic base full of syncopations, setbacks, alone with large improvisational doses and new schemes with influences from other currents such as jazz-rock, funk or reggae The rupture that punk supposed and its change of mentality imposed a new concept in which the bands of the style that was beginning to be considered "old-fashioned" opted to emphasize the dynamic and rhythmic component to the detriment of pomposity and the more static passages and envelopes. This more "modernist" approach can be seen in musical aesthetics, textual themes and even the cover of Roger Dean, clearly further from the old patterns that made the genre more recognizable. Logically, in a span of three years between his previous work, Relayer and this Going for the one, the sound contrast would be even greater.
Going for the one (Anderson): here we find the first radical change of the group. The album opens with more aggressive and direct guitars than the usual phrasing of Steve Howe, which gives way to a lighter and strident rock rhythm where you gradually get carried away. The touches of the Yes sound begin to surface, the game of voices, the Howe interval jumps and the agile rhythm of Yes (which always manages to make irregular rhythmic structures understandable). A start that is a contrasting but very interesting starting point to this new creative stage of the group.Turn of the century (Anderson / Howe / White): great theme that has opened many Yes concerts. Here the aforementioned atmosphere started in the Tales is patented ..., giving it a very spatial touch. Howe's acoustic guitar passages, harmonic vocal lines and bass bases bring us back to the great features of Yes's classic works. After the whirlwind of the first theme, they bring us peace and calm with one of Yes's most beautiful passages, reaching halfway to a great climax, when Wakeman goes to the piano and Howe makes his electric guitar parts, like at the end of the "Gates of Delirium" of the Relayer; a delicate passage that sometimes wants to aspire to a certain orchestral polyphonic style. A true wonder
Parallels (Squire): in this theme, as in the first one of the disc, we are shown again to a lighter Yes, more oriented to the songs of simpler structure, although this does not remove the epic tone of this piece. The vocal harmonies remind me something of the much later "Love will find a way" of the Big Generator (1987), I can't help it. Perhaps this theme is where you can see more the way they will follow in their successive deliveries although Wakeman has had great success in interpreting this issue with a resounding church organ (specifically the Church of St. Martin, Vevey, Switzerland) , constituting an unpredictable mix by having its counterpoint with a well-built and somewhat catchy rhythm. It reminds me in a certain way of the "Roundabout" (of the Fragile) in some moments, for the intricate rhythmic work between the accents of the drums and the bass (sometimes not coinciding and being displaced, which favors that movement in the base), although the sound and all of the drums remind me more of the Genesis of the "Squonk" (A trick of the tail, 1976).
Wonderous stories (Anderson): more acoustic theme that became the most commercially successful theme (including in its official compilation THE VERY BEST OF YES), being single and reaching number 7 on the British charts. Its delicate harmonic framework reminds me in a certain way of the "Turn of the century" and constitutes a great preamble to the great final theme.
Awaken (Anderson & Howe): everything that is said about this topic is little. One of the best moments of Yes and the progressive turn, created by the tandem that gave us the Tales or the Close, although a few years later. The great epic of the disc constitutes one of its creative tops, which establishes links with its previous works. The musicians are all great: Wakeman demonstrates the virtuosity of the Fragile (already from the beginning with the piano) and the harmonic capacity of the Tales; Anderson is still one of Yes's strong livelihoods, his expressive solo lines and his vocal games are impressive (see in the most contrapuntal part with the church organ); Howe also does not disappoint and gives us very good guitar parts, although it leaves more prominence to Wakeman. Even so, there are some moments when he prints his stamp (as in his pseudo-flamenco score in the slowest part); Squire, like Howe, is dedicated more than anything to reinforce harmonies, already blunt in itself ... and White, although it does not stand out, remains discreet to not give any aggressive touch to the subject and finish the work. The last theme leaves you serene, in peace, but fulfilling its function of apotheosic conclusion, which here materializes with that progression reminiscent of baroque compositions, in perpetual mobility mode, thanks to harmony and organ, which grows in intensity until it is a climax with an organ background (as was done in the Close). In the end, it returns to the beginning, as something cyclical, with diluent chords. After the storm comes calm. There are many oriental ideas in the background ...
I have a weakness for this record, it must be said. Despite not having the complexity and ambition of other works, it is a beautiful album for its sobriety (although that in Yes is a strong instrumental load). Very similar to what the Trick of the tail meant in Genesis discography. Mark changes in style and sound. This balance between the elaborate invoice musical formula and a more accessible spirit can be a good starting point for those who seek to begin in the sound universe of Yes, and not accustomed to such structures.