Yes
Going For The One

A naked man, five different lines crossing him, and the colossal emergence of skyscrapers toward ancient skies: this is the vision bestowed by Storm Thorgerson of the famous Hipgnosis, to describe the album of a band that courageously accepted to renew itself and effectively face the musical evolution of a 1977 that seemed to sweep everything away.

“Going for the One”, the band’s last masterpiece, is the perfect example of balance and synthesis between the past and the future of the band, a balance that would never be completely regained. Even the change of the album cover designer is symptomatic of the band seeking landscapes different from the “fantastic” ones of the visionary Roger Dean, while still maintaining the band’s classic logo, designed by Dean himself. The album opens with the lively “Going for the One”, a song with a brilliant sound that seems to distance itself from the band’s overly committed past. In this respect, the flamboyant keyboardist Rick Wakeman, returning to the band after the departure of the talented Patrick Moraez, declared that Yes were back to composing songs again: the polemical reference to the “heavy” “Tales From Topographic Oceans” and “Relayer” was all too evident, as these albums were never loved by Wakeman. The track is dominated by Steve Howe's steel guitar and the massive use of vocals by Anderson, Squire, and Howe.
The rhythm section, consisting of Chris Squire on bass and Alan White on drums, is very dynamic and varied, and Wakeman's phrases serve to further saturate the band’s sound. This energetic and lively start leads us to the album's first masterpiece, “Turn Of The Century”. The sweet phrases of Howe’s acoustic guitar bring forth Jon Anderson’s splendid voice, merging into the ethereal sea created by Wakeman and the inspired bass interventions by Squire. Like a sunrise, the track grows slowly yet majestically, accompanied by Wakeman’s beautiful piano interpretation, until even White’s percussion, beyond just driving the rhythm of the band, begins to draw simple melodies thanks to careful tuning of his instruments. The track concludes with Howe alone caressing the strings of his acoustic guitar with immense class and inspiration.

The romantic and meditative atmosphere is interrupted by the grand bursts of Wakeman’s organ introducing “Parallels”, a track to which the entire band gives an energetic and majestic interpretation. “Parallels” is a rework of “Hold Out Your Hand”, a track from Squire’s solo album “Fish Out Of Water”. Squire’s bass rages throughout the track, challenging Howe and Wakeman to follow and surpass him. Anderson improvises as a modern minstrel with his “Wonderous Stories”, a simple and delicate song in which the band discreetly accompanies the beautiful voice of the singer, adorned in the final part by the lovely interventions of Howe.
Wakeman’s piano introduces us to the album&rsquos second masterpiece, “Awaken”. After a beautiful introduction by Wakeman, Anderson’s voice begins to float in an ethereal sea dominated by Wakeman’s keyboards and Howe’s guitar. Suddenly, an epic phrase by Howe gives energy to the track, leading the band toward majestic sonic landscapes where each member exhibits all their class. The track almost seems to fade out suddenly, but from afar, a melody from White’s tuned percussion surfaces. Howe's guitar joins it, inspiring Wakeman in the creation of fantastic sonic visions. From this sonic magma, Anderson's voice reemerges, pushing the track even further until it meets the chorus of the “Richard Williams Singers” for a stunning crescendo.

Having reached the “summit,” we dive back into the ethereal and dreamy atmosphere of the initial moments to sink definitively and gently into an eternal sea. The “awakening” is the dialogue with God…