GOING FOR THE ONE

Relayer was Alan White's true consecration as Yes's drummer. It also proved that the band didn't rely on Rick Wakeman to create outstanding music. Relayer stands as Yes's most experimental album, with Patrick Moraz showcasing his brilliance and firmly establishing himself among the top-tier keyboardists of the era.

It was Moraz who invited Yes to his native Switzerland specifically to Vevey, on Lake Geneva, a heavenly and elegant location. There, the band began working on new material, fully inspired. But just as the sessions were getting underway, Brian Lane and Atlantic Records delivered a surprising twist: the return of an old friend.

Wakeman's return brought mixed feelings on one hand, the joy of reuniting with a familiar face, and on the other, uncertainty about what would happen to Moraz, who was already contributing to new material. Some of that work had taken shape by then, including early ideas for "Awaken," "Wonderous Stories," and "Parallels." However, Moraz was ultimately asked to step aside.

Despite this, he had proven himself musically and personally his contributions to the Relayer album and tour, and on solo projects like Beginnings ( Howe) and Fish Out of Water ( Squier ), showed his spirit of collaboration. Still, his relationship with the band ended poorly. He later criticized Yes for a lack of financial and artistic recognition. Chris Squire noted the tension between Moraz and Howe, even calling Moraz "a pain in the ass for everyone."

Yes stayed in Switzerland partly for tax reasons and continued working with Wakeman, who re-entered the fold smoothly. The result was Going for the One, one of the most entertaining and inspired sessions the band had experienced in years.

At this point, Yes was emerging from a solo-heavy phase. Going for the One marked the return of the full band dynamic. Despite the dominance of disco in 1977 and growing pressure from their label, Yes pulled off a surprise hit with "Wonderous Stories," their first major radio success since "Roundabout." Produced by Eddie Offord, the album is clean, vibrant, and refreshingly direct compared to the denser works that preceded it.

The music feels fresh and exploratory. The title track is fast and quirky, with Steve Howe's lap steel guitar and horse racing-themed lyrics. "Turn of the Century," inspired by the Pygmalion myth, is a masterpiece of mood and melody, with one of Howe's most beautiful acoustic introductions. "Parallels" hits harder, driven by Wakeman's thunderous church organ and Squire's heavy rhythm recorded in a Geneva church using an elaborate real-time studio link.

Side two opens with the serene "Wonderous Stories," full of melodic nuance and vintage Wakeman charm. The album closes with the majestic "Awaken," a spiritual epic that combines church organ, harp, and deeply reflective vocals. It remains one of the band's most transcendent achievements.

The cover marked a departure too: no Roger Dean on the front. Instead, Hipgnosis delivered a bold photographic cover, while Dean contributed the inner artwork. The shift symbolized a new chapter for Yes.

Finally, Going for the One, despite not always pleasing fans of the more experimental side of Yes, is an extraordinary and brilliant album. It captures a band in motion?mature, bold, and willing to embrace change. They managed to remain artistically honest while achieving commercial success, and for 1977, that's no small feat.

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