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Going For The One

Review by Gary Hill

Being an album that had Rick Wakeman rejoining the fold, this one was looked upon as a very strong and welcome release to Yes fans. Indeed, it still ranks among the favorites of many of them. Featuring several fairly short cuts and one epic, this is truly a wondrous album.

The lineup on this one was Jon Anderson, Chris Squire, Rick Wakeman, Steve Howe and Alan White.

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Track by Track Review
Going For The One
Fast-paced, hard-edged, guitar-dominated prog, this cut really rips forth. It features a quirky jam section in a rock and rolling manner at the 5:30 mark. It is a bit brief, but quite effective. The ending segment seems to just soar ever higher. This is achieved by vocals that feel like they are building and ever increasing jamming of guitar and keys. Before it reaches its resolution, the tension is released in a joyous Beatlesesque manner.
Turn of the Century
This cut is quite appropriately titled for this time  in history. Beautiful acoustic guitar and vocal interplay makes up the early segments of this composition. Together they weave their tale of beauty until the other instruments begin to join, carrying on with building. This song is a work of splendor. It features a complex arrangement. This is an example of some of prog's finest. "Did her eyes at the turn of the century, Tell me plainly when we meet how we'll look, As we smile time will leave me clearly". Beautiful and intricate acoustic guitar ends the piece.
With a subdued keyboard segment starting the cut, pipe organ blasts in. It is followed quickly by the rest of the instruments. This piece is hard rocking prog that features some wonderful bass moments.
Wonderous Stories
Mellow, but quite complex prog wonderment is used to create a composition that is both other worldly and accessible. This was a bit of a hit for the band in some parts of the world. Sections of this one have sounds that were destined to show up on the band's next release Tormato.
One of Yes' great epics, this one begins with energetic piano work. That leads to a more sedate and complex piano segment that makes up the rest of the intro. This intro is definitely trademark Wakeman. Ambient/textural elements take over from there, and the vocals enter. A hard rocking and fast paced prog segment then ensues. "Strong dreams reign here." That line really seems to set a lot of the tone for the piece. The composition then moves into a strong riff-laden prog jam that features powerful guitar work and elements that call to mind Close To The Edge. Also, this is definitely one of the only rock songs to feature sleigh bells. From here, the cut seems almost to swirl out of this segment, moving into a different portion of the cut. This next movement is a different prog portion that seems very much like a building mode. It then dissolves into just keys before taking us into the next segment. Low key elements start this instrumental portion of the piece, and then it begins to build. This movement sets the cut aside again by featuring another unusual instrument - the harp. This whole section takes one brief theme and keeps redoing it. Each time, it adds layers and intensity. Then, a new theme is introduced on the guitar and the band starts to move out of this break. As they do, we find that the cut has once again transformed. The new movement is slower and more thoughtful and features angelic voices. This leads into a dramatic and powerfully building segment that gives way to one more verse of vocals. Then an organ solo calls the piece into its next, considerably triumphant sounding, movement. As this short portion reaches its resolution, more ambient sounds take over. Add to this vocals, and it makes for a rather powerful section. This segment builds a bit to make for a satisfying conclusion.
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