Source: The Yes Chronicles
http://www.geocities.com/SunsetStrip/Concert/8459/goingfortheone.html
Review: Going for the One
Author Unknown
"It was a very happy time in the band's life." -- Alan White, from the
Yesyears video (1991)
"The album is a kind of celebration." -- Jon Anderson, 1977, as documented
in Tim Morse's Yesstories: Yes in Their Own Words (1996)
"I was just having a field day." -- Rick Wakeman, from Yesyears (1991)
Going for the One
Atlantic 1977
Rating: ****
Best song: "Turn of the Century"
Produced by Yes
Cover by Hipgnosis; logo by Roger Dean
Engineer: John Timperley, assisted by David Richards
Choral arrangement of Richard Williams Singers by Rick Wakeman
Personnel:
Jon Anderson: vocals, harp
Steve Howe: guitars, vocals
Chris Squire: bass, vocals
Rick Wakeman: keyboards
Alan White: percussion
Track listing (standout tracks in bold):
Going for the One
Turn of the Century
Parallels
Wonderous Stories
Awaken
. . . . . . . . . . . . . . . .
Despite the long layoff between Relayer and this album, Yes maintained a
busy schedule. There were two large-scale tours, with the band playing to
an estimated 150,000 fans at Philadelphia's JFK Stadium in 1976; and in the
interim each member took some time off from the band to work on solo projects.
The fruits of those individual projects, which gave each member not only
some time away from his bandmates but also allowed everyone to explore new
musical ideas (and, possibly, rediscover some old ideas), can be heard in
the freshness of Going for the One.
Indeed, there is a sense of newness to everything on this album, beginning
with the strange cover. Roger Dean is gone, replaced by a Hipgnosis photo
featuring a naked man's backside as he stands facing an assortment of
towering skyscrapers. (There's something about "progressive" bands and
naked butts on album covers--Rush did it in 1978 and a few other times as
well, and Pink Floyd did it with their monster box set Shine On.) Then we
find that even Eddie Offord is gone--Yes produced this album themselves,
while on a tax exile in Switzerland. And, for possibly the biggest surprise
at all, there are five songs on this album! Wow! There had only been 10
songs spread across the band's last eight sides of vinyl.
This new somewhat streamlined approach, at least by Yes standards,
suggested that the band was tightening up its sound, and one has to wonder
whether this was purely by chance or because of a recognition of the
changing music scene. Not that the days of flowery prog-rock epics were
gone, but there was a shift in consumer tastes beginning around this
time--one that would precipitate the rise of punk, new wave, and disco that
threatened to leave lumbering dinosaurs like the "progressive" Yes in the
dust. Robert Fripp saw all this coming and disbanded King Crimson when he
thought prog had said all that it had to say.
But Yes figured out a way not just to survive but to actually assemble an
unforgettable album--one that saw them still remaining true to their superb
musicianship, even if it was served up in smaller packages.
And there was still one more surprise remaining for fans--Rick Wakeman's
return. Patrick Moraz had begun rehearsing with Yes for this new album, but
he bowed out when it was clear that the chemistry just wasn't quite right
anymore and that the band really wanted Wakeman back. And they got him,
first as a session player and then finally as a full-fledged member. It was
a good thing that he agreed to rejoin, because by the time he did, Yes had
already announced to the music press that the keyboardist was back!
It was a tape of some of the new music being rehearsed that persuaded
Wakeman to come back and give things a chance--he seemed very pleased that
Yes had settled down a bit. Indeed, one listen to Going for the One reveals
an approach that recalls the earlier Yes albums like Fragile and The Yes
Album and even Time and a Word, where each instrument had room to breathe
yet allowed itself full expression, as opposed to Tales from Topographic
Oceans, where breathing space was replaced by muddled nothingness, or
Relayer, where full expression stated itself in the form of thick, dense
slabs of competing aggressive sounds.
As soon as we hear Alan White counting in "a-one-two-three-four," we know
we're in for some uncharacteristically conventional rock 'n' roll. But not
totally conventional, for this is Yes, after all, and instead of launching
into some smashing power chords as White may have made us suspect, the
first instrument we hear on the opening title cut is Steve Howe's steel
guitar merrily twanging away. And in a first for him, he would stay on the
steel all the way through the song. White and Chris Squire pin things down
with a syncopated backbeat, and then Wakeman and Jon Anderson both come
descending into the song from on high--very high. Even Anderson must have
had to strain to hit some of these notes, and judging by the way his voice
cracks on the live rendition of this piece on 1980's Yesshows album, I'd
say that's a safe assumption.
But there's an abundance of energy packed into this piece, which ends up
sounding more like a whimsical cross between late '70s power rock and a
twisted, twangy country tune. There is a very strong sense that, at least
for this song, Yes isn't going to take itself as seriously as it has in the
past--Anderson even makes a vocal quip about his "cosmic mind" in the
lyrics, displaying a very rare sense of humor, and a self-deprecating one
at that. Like many of the lyrics on the album, these are a little more
tangible than those in the past, and even without Anderson's later
explanations, it's clear that there are obvious references to sports
here--horse racing and whitewater rafting, in particular. An interesting,
and enjoyable, twist for this reborn band.
The other heavy hitter on the album is "Parallels," the closing piece of
side 1. Credited solely to Squire, the song is indicative of the musical
freshness some of the members picked up during their time away from each
other, just as "Wonderous (sic) Stories" would display a new, simplified
perspective that Anderson brought back to the band. Squire worked up
"Parallels," in fact, around the time his solo album came out a few years
earlier. But, as if just to remind us that Yes still won't give us
straightforward rock 'n' roll, the first sound we hear is a huge pipe organ
blast from Wakeman. This, and the organ work on "Awaken," were both played
at a Swiss church, with the sound relayed back to the recording studio via
telephone line! Given those recording circumstances, the sound is amazingly
clear, every bit as much as the organ we heard back on "Close to the Edge."
"Parallels" being Squire's song, his bossy bass takes the forefront along
with the organ, leaving Howe and White to paint a wide-open, expansive
backdrop. He also shares most of the vocal lines along with Anderson, as
they work their way through a song that has a pretty simple message to
it--the discovery and power of love. Squire has shown over the years that
his lyrics are every bit as hopeful and optimistic as Anderson's have
tended to be, with Squire's being just a little bit more rooted in the
literal than the flowery and abstract. It works in Yes, as a nice, occasional change of pace.
But standing in sharp contrast to these simpler, rockier songs are one
short folksy ballad and two longer pieces that possess a definite classical
feel to them. First is a short, gentle piece that opens up side 2:
"Wonderous Stories" recalls the folk-like simplicity of "Your Move,"
complete with a return of Howe's vachalia and a very simple, uncomplicated
accompaniment from the rest of the band that imparts a sense of airiness
and effortless drifting--which is appropriate, as Anderson returns to one
of his favorite symbolic images here, telling the tale of a person drifting
upstream to meet his "forgiver," a seer and storyteller who imparts great
truths through his tales. One is reminded of Siddhartha once again, who
experienced his own revelation "down by the river," as Anderson stated it
back on "Close to the Edge."
And whoever this seer is in "Wonderous Stories," he helps our main
character "see deeply into the future." He takes this revelation "so
cautiously at first and then so high," and now that the revelation has been
seen and embraced, a transformation occurs: "As he spoke my spirit climbed
into the sky." The student of the seer has achieved a higher plane of
existence and understanding--of transcendent self-knowledge, again
recalling the imagery of "Close to the Edge" and parts of the Topographic
Oceans album. But even so, the student bids his spirit to return to this
existence, because he wants to learn more from this seer who has changed
his life--and perhaps because he feels his journey of acquiring knowledge
has not yet become complete. (The themes from "Starship Trooper" are here
recalled to mind.) Whatever the case, we know that the student's education
continues, as the song ends with the repeated harmonies of "hearing ...
hearing ... hearing ... ." This is a musically beautiful piece, complete
with an Anderson/Squire call-and-response vocal section that, again looking
back, brings to mind the vocal shadowing on "And You and I." This song was
a hit for Yes in the UK, and it's little surprise--at under four minutes,
and with its beautiful simplicity, it seemed destined for greatness and popular acceptance.
And now we come to the classically driven compositions on the album. First
is another Anderson story-song, and as was the case with "The Gates of
Delirium," and even "Wonderous Stories" on this album, he surprisingly
pulls off the narrative lines with depth and earnestness. Granted, though,
the story is more mythical than literal, so maybe that's part of the reason
it works so well. The song in question is "Turn of the Century," which
retells both an ancient Greek myth and a part of the opera La Boheme: A man
named Roan tries to capture the beauty of his lady lover in a sculpture of
her, and he pours all of his attention into creating his work while in the
meantime she grows ill and dies. Determined to regain her, he wipes away
his tears and sets to work on his sculpture as never before. The result is
a miraculous transformation from stone to flesh: "Realizing a form out of
stone his work so absorbed him/Could she hear him?/Could she see him?/All
aglow was his room dazed in this light/He would touch her/He would hold
her/Laughing as they danced/Highest colors touching others."
Now, Yes fans, this is one of the most heart-rending moments in all of Yes
music. If the soft, sublime musical accompaniment doesn't give you goose
bumps, listen to the sound of joyous wonder in Anderson's soaring words as
the couple is magically reunited. If you are even the slightest bit
romantic, this can, and probably will, bring tears to your eyes, and if
that doesn't, then Howe's majestic closing acoustic-guitar flourish will.
The music here manages to relate the beauty of the story as much as
Anderson's words do--there is a graceful elegance to the arrangement that's
brimming with ethereal majesty and driven by Howe's free-flowing guitars
intermingled with Wakeman's classically tinged piano brushstrokes. Squire
and White remain tastefully and appropriately restrained, on an economy of
sparse but powerful bass lines and dramatic tuned percussion, including
tympani. This is, altogether, much more classical than rock, and there
really isn't anything else like it in the entire Yes canon. But that just
makes it all the more special. If you don't have this album, it's worth
buying for "Turn of the Century" alone.
And, speaking of unique masterworks, the album closes with something akin
to a classical hymn--the 15-minute opus "Awaken." After Wakeman serves up a
part fleet-fingered, part contemplative piano solo, Howe leads the band
into the piece on a floating cloud of shimmering beauty that sounds as if
it's descending from the heavens themselves. And whereas the lyrics on most
of the rest of the album have been, at least by Yes standards,
uncomplicated, the words to "Awaken" are among Anderson's most impenetrable
ever. There is a sense, though, that something is being imparted to us, the
listeners, rather than just strings of meaningless words. My hunch is that
we're moving back into Anderson's spiritual realm, with a reconciliation
between man and his God, or between man and his enlightened
self-realization, being the overarching theme. In the first half of the
song, Anderson introduces us to several "workings of man" that have led him
to be driven "far from the path" of truth and enlightenment (possibly a
"Close to the Edge"-style criticism of the Church), coupled with the sense
that man is ready to reach out once again to make himself whole, with a
promise that he will, through his efforts, be reunited with his God, his
wholeness of spiritual self, or whatever terms you'd like to put it in. The
title of the song itself is a suggestion that we may be revisiting the
"Close to the Edge" journey of Siddhartha and/or the Buddha, since the word
"buddha" itself translates as "the awakened one."
There is, once again, even an apparent biblical reference here, when
Anderson sings "Wish the sun to stand still." This recalls the story from
the Book of Joshua, when God made the sun stand still in the sky so that
the Israelis would have time to fight their oppressors. Written during a
time when the Israelis were being oppressed by the Babylonians, the story
was probably intended to give hope to God's "chosen" people. So how does
this relate to Anderson's song? Well, while man is still yearning in the
first half of the song to be united with his God, perhaps it is, like the
biblical story, a "reaching out" (so Anderson sings) in hope to this
elusive goal of God--a hope for this cosmic reunion, or, looking at it from
an Eastern perspective, for finding "God" within oneself, as well as in everything.
The beginning and end of the song are bookended first by free-floating
ambience, followed by long sections of full-band accompaniment that unfold
a stretch of music rivaling the dense complexity of Relayer, but with a
soaring, inspirational clarity unheard in Relayer's darker grooves. It's
almost as if the band is using the same musical style to renounce the
darkness of their previous work and now focus its energies on purity and
light and goodness, encapsulating the sense of freshness and rebirth that
permeates the Going for the One album.
In between the bookends, the music slows, like a music box winding down,
and we are transported into a four-minute bridge--symbolically, I imagine,
the beginning of the journey through the anecdotal tunnel of light from man
to his heaven--that truly does carry the feeling of an otherworldly hymn.
Anderson and White begin, playing lightly in a slow 6/4 unison on harp and
crotales (the instrument heard at the beginning of "Sound Chaser" but
without any of the intensity; they sound like tuned triangles). Wakeman
then joins for a long rumination on pipe organ, and ever so slowly, Howe
and Squire return, along with a Wakeman synthesizer overdub, that all
combine to create a long, expansive ebb and flow of climaxes and releases.
A choir of wordless voices drones in the distant background, and after one
last triumphant blast on the organ from Wakeman, a sense of quiet
clarity--possibly an achievement of inner peace and
self-knowledge--returns, and we realize we've made the trip across the
expanse from man to at least an understanding or recognition of God, who
here is sung about as "Master of images," "Master of light," and "Master of
soul." In Buddhist thought, we ourselves are seen as the masters of our own
destiny--nobody, not even the Buddha himself, can lead us to salvation. We
must do it ourselves. Thus, awakening can come only from within, meaning
that we are and must be our own masters. As a result, Anderson's "masters"
of images, light, and soul need not even be a distant God somewhere out in
the cosmos--it can be found as a power manifested right within ourselves,
once we've achieved the simple realization of it. Put in Christian terms,
the kingdom of God is within us. There's no need to go out seeking "God" as
something out there in the great beyond--this "God" is within us and one
with us. One may even say it is us.
Howe and Wakeman, backed by the distant choir, propel the piece forward
with growing intensity until Anderson returns to sing of the "Master of
time," who is apparently in our world, as one with ourselves, "setting sail
over all of our lands," and then preparing to take us back across the
expanse to the blissful void, as Anderson now asks, "Shall we now bid
farewell, farewell?" Wakeman immediately enters with a powerfully ascending
pipe organ solo, followed by a high-flying release in the music, that seems
to be ascending majestically into the skies. I see this as the completion
of man's spiritual search that began in the middle section, once again
through the beginning of a transcendence, a spiritual union coming by way
of self-realization. Punctuating this majestic achievement is a final
release in the music reminding us that our search is over at last, as we
return back to the feeling of floating wonderment heard at the beginning of the song.
The same verses of apparent questioning and longing and wishing the sun to
stand still are repeated, but this time they have a resolution: "Like the
time I ran away/And turned around/And you were standing close to me." So
we're left with a sense that the lines of searching are repeated not to
convey the current sense of longing man feels, but as a reflection on how
he felt before he had his revelation, for now he finds that he is much like
the man in the famous "Footprints" poem, wondering where his God was during
his darkest hour, only to find that his God was there all along, carrying
him, one with him. The musical journey has been taxing but very
enriching--ending on another one of those goosepimply Yes moments, with
Howe's soft cadenza creating a final statement of fulfillment over a
free-floating wash of release by the rest of the band. Beautiful, just
beautiful.
And quite an ending to what many fans consider the end of Yes's greatest
period of work. I don't totally agree, as I find 1980's Drama to be just as
strong as this album, but there's no question that the immediate follow-up
to Going for the One would be a colossal disappointment, to the fans as
well as to the band itself. For some reason, the revitalized spirit of
Going for the One couldn't be sustained, and soon the bottom would fall out
from beneath this lineup of the band.
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