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| Going for the One | |
|---|---|
| Name | Going for the One |
| Type | studio |
| Released | 15 July 1977 |
| Recorded | February–May 1977 |
| Studio | Advision Studios, London; Sarm West Studios, London |
| Genre | Progressive rock, art rock |
| Length | 38:53 |
| Label | Atlantic Records, Atco Records |
| Producer | Yes, Eddie Offord |
| Prev title | Close to the Edge |
| Prev year | 1972 |
| Next title | Tormato |
| Next year | 1978 |
Going for the One is the eighth studio album by the English progressive rock band Yes. Recorded in London and released in July 1977, the album marked a stylistic shift toward more concise songwriting while retaining symphonic structures associated with progressive rock; it followed the band's commercially and critically acclaimed album Close to the Edge and preceded the album Tormato. The record features the lineup of Jon Anderson, Chris Squire, Steve Howe, Rick Wakeman, and Alan White, and includes the singles "Wonderous Stories" and "Going for the One".
After touring in support of the albums Tales from Topographic Oceans and Close to the Edge, members of Yes pursued solo projects and collaborations. Jon Anderson worked with Vangelis and toured with Chris Squire in the band Cuban Heart, while Steve Howe recorded with Asia-era contemporaries and Rick Wakeman released solo albums such as White Rock and Criminal Record. The band reconvened at Advision Studios and later at Sarm West Studios with producer and engineer Eddie Offord, whose previous credits included work with Emerson, Lake & Palmer and King Crimson-era engineers. Financial pressures from Atlantic Records and the shifting musical climate influenced the sessions, which combined live ensemble tracking with overdubs and the return of Wakeman after his absence on earlier tours. Guest musicians and technical staff from studios associated with Led Zeppelin and Pink Floyd were involved in mixing, and the band cited inspiration from artists like The Beatles and Jethro Tull when refining arrangements.
Musically the album balances extended compositions and shorter songs. The opening suite "Going for the One" features a multi-section form with harmonic motifs that recall earlier Yes pieces and draws on modal progressions similar to those used by Bach in baroque structures and by contemporaries like Genesis in their progressive suites. Rick Wakeman's piano returns prominently, using acoustic motifs that contrast with Steve Howe's electric and acoustic guitars, whose timbres evoke work by Jeff Beck and Alex Lifeson. Lyrically Jon Anderson employs spiritual and mythic imagery referencing locations such as Mount Kailash and ideas associated with Taoism and Sufism; Anderson's vocal lines interweave with Chris Squire's melodic bass counterpoint, a technique also prominent in recordings by Paul McCartney and John Entwistle. Other tracks such as "Wonderous Stories" use concise pop-structure hooks, reflecting influences from Elton John and Paul Simon, while the instrumental passages and contrapuntal sections echo practices from Steve Reich and baroque composers. The closing track "Awaken" is an expansive six-part composition that blends orchestral textures, organ fugues, and guitar leitmotifs, drawing analytical comparison to works by Antonio Vivaldi and the choral traditions associated with George Frideric Handel.
Released by Atlantic Records in July 1977 and promoted by singles issued on Atco Records in North America, the album reached high chart positions in the UK and US, following the band's earlier mainstream breakthrough with Fragile. Contemporary reviews in publications linked to the music press compared the record to developments by Genesis and Supertramp, noting its return to melodic clarity amid the rise of punk rock and disco scenes that were reshaping popular taste. "Wonderous Stories" charted internationally and received airplay on radio stations affiliated with BBC Radio 1 and WNEW. Retrospective assessments by critics and musicologists have placed the album among Yes's most accessible yet artful works, with scholarly commentary situating it within late-1970s progressive rock alongside albums by Peter Gabriel-era Genesis and solo records by members of King Crimson. Sales certifications in multiple territories attested to its commercial impact.
The album's sleeve featured artwork and design that departed from the surreal landscapes of previous Yes collaborators such as Roger Dean; the cover used photographic imagery and a more minimalist logo treatment developed in coordination with graphic designers who had worked for Island Records and Polydor Records. The packaging included inner sleeves with lyrics and credits listing engineering staff, orchestral contractors, and photographers who had credits on projects by David Bowie and Paul Simon. Later reissues by Rhino Records and remastered editions overseen by engineers associated with Abbey Road Studios expanded liner notes and included bonus mixes, while deluxe vinyl pressings were issued by labels linked to archival releases for artists like Fleetwood Mac and The Who.
Following the album's release, Yes embarked on tours across Europe and North America, performing in venues promoted by agencies that also represented Santana and Peter Gabriel. Setlists combined material from the new record with classics from The Yes Album, Fragile, and Close to the Edge, featuring extended live versions of "Awaken" and "Going for the One". Concerts were staged with lighting and sound crews with prior credits on tours for Genesis and Pink Floyd, and the band played major festivals alongside acts such as Rush and Boston. Live recordings from the tour, some of which circulated as official and unofficial releases, show arrangements adapted for larger venues and display contributions from guest backing vocalists and orchestral players who had also worked with Carly Simon and Kate Bush.
The album is frequently cited in discussions of late-1970s progressive rock evolution and has influenced musicians in progressive and art rock circles, including members of Marillion, Porcupine Tree, Dream Theater, and Tool. Music historians connect its concise approach to later developments in neo-progressive movements and credit its production choices with informing reissues and remastering standards adopted by archival projects for Pink Floyd and King Crimson. Tracks have been covered or referenced by artists across genres, from symphonic metal bands who draw on its orchestral textures to singer-songwriters who acknowledge its melodic clarity in interviews alongside names like Bruce Springsteen and Sting. The album remains a subject of scholarly analysis in studies of 1970s popular music and progressive aesthetics, and it continues to appear in curated lists by institutions and publications that examine landmark recordings alongside works by The Beatles, Led Zeppelin, and David Bowie.
Category:Yes albums Category:1977 albums