Going for the One - 2003 Remaster

"Going for the One" serves as a dual metaphor, bridging the gap between physical exertion and spiritual enlightenment. On the surface, the song uses the imagery of the "Sport of Kings" (horse racing) and white-water rafting to describe the adrenaline and focus required in high-stakes competition. Jon Anderson, the primary lyricist, often explores themes of seeking the ultimate truth or the divine, and here, "The One" represents that singular goal—whether it be the finish line of a race or a state of spiritual unity (Oneness).

The lyrics suggest that the intense focus required in extreme sports is akin to a meditative state. When one is "Going for the One," fear dissolves ("seeing all your sense of fear diminish"), and the mind becomes clear, connecting with the "Cosmic Mind." This state of flow is where the physical and spiritual worlds intersect. The recurring question, "Should you really chase so hard?" hints at the paradox of seeking: sometimes the truth "plays rings around you," implying that it is ever-present and not just something to be chased.

Ultimately, the song is a celebration of vitality and the human drive to transcend limits. It proposes that the rush of the "shoot" (the rapids or the race) is a vehicle for experiencing a higher state of consciousness, turning a competitive act into a journey of Sending Love and achieving cosmic harmony.

The song opens with a surge of energy, immediately plunging the listener into a narrative that blends high-stakes competition with spiritual seeking. It begins with imagery of the "Sport of Kings"—typically horse racing—setting a scene of elite performance and the intense drive to win. The protagonist is depicted in the heat of the moment, navigating the rush of the race, where the rhythm of the event flows like a river. There is a sense of overwhelming motion, comparing the competitor's stature to the grass, suggesting humility or insignificance amidst the grandeur of the challenge.

As the narrative progresses, the lyrics question the necessity of such intense chasing. The "truth of sport" is described as playing rings around the participant, implying that the essence of the activity transcends the mere act of winning. The focus shifts from the external race to an internal state of being. The lyrics describe a moment where fear diminishes and danger is treated as a mere collection of experiences to be discarded along with misconceptions. This shedding of fear allows for a pure, focused state of "Going for the One."

The bridge introduces a more abstract, cosmic perspective. It speaks of the "Cosmic Mind" and reaching heights that leave the ordinary world behind. The imagery moves from the earthly racetrack to a transcendental plane, where the mind travels through the "shoals" of existence. The protagonist finds themselves writing a "punchline," perhaps realizing the irony or the ultimate simplicity of their quest. In the end, the song celebrates "moments of delight" and "moments in flight," culminating in a message of sending love and achieving a unity that connects the physical effort of the sport with a higher, spiritual oneness.

The creation of "Going for the One" marks a pivotal moment in the history of Yes, signifying a "return to form" and a reunion of their classic lineup. In 1976, following the departure of keyboardist Patrick Moraz, the band relocated to Mountain Studios in Montreux, Switzerland, to record their next album. This location would become legendary in rock history (later used by Queen and David Bowie).

The song itself was written by lead singer Jon Anderson about two or three years prior to the recording but had been previously rejected by the band. However, upon revisiting the material with the returning keyboard wizard Rick Wakeman, the band found a new energy. Wakeman's return was significant; he had left after the controversial Tales from Topographic Oceans, and his re-entry brought a sense of revitalized collaboration.

Musically, the track was a departure from the dense, side-long epics of the previous few albums. The band decided to produce the album themselves, moving away from long-time producer Eddy Offord. A key sonic element is Steve Howe's pedal steel guitar. Typically associated with country music, Howe applied the instrument to a high-energy rock context, creating the song's signature soaring, sliding melodic hook. The 2003 Remaster, handled by Rhino Records, restored the dynamic range and clarity of these Montreux sessions, highlighting the complex interplay between Chris Squire's driving bass and Wakeman's honky-tonk piano stylings.

The song is built on a driving, up-tempo 4/4 time signature, which differentiates it from the shifting, odd-time meters typical of Yes's earlier work like Close to the Edge. This relentless, galloping rhythm mimics the physical sensation of a race or a rushing river. The tempo is high, creating a sense of urgency and excitement.

Lyrically, the rhyme scheme is somewhat loose but often employs AABB or ABAB structures in the verses (e.g., "diminish" / "misconceptions" - slant rhyme, "round you" / "found you"). Anderson focuses heavily on internal rhythm and alliteration to maintain the momentum. The phrasing is staccato and rapid-fire in the verses, contrasting with the sustained, soaring notes of the chorus where the title line "Going for the One" is sung, allowing the musical rhythm to open up and breathe.

Musical Techniques:

• Pedal Steel Guitar Lead: The most defining feature of the track. Steve Howe utilizes a pedal steel guitar—usually reserved for slow country ballads—as a driving, aggressive lead instrument. This gives the song a unique, "sliding" sonic texture that feels like it's constantly rushing forward.
• Polyphonic Vocal Harmonies: The band employs their trademark vocal layering, with Jon Anderson's alto-tenor lead interwoven with Chris Squire's and Steve Howe's backing harmonies, creating a choral effect that lifts the chorus.
• Genre Fusion: The song blends Hard Rock (driving beat), Country (pedal steel), and Boogie-Woogie (Rick Wakeman's piano lines) within a Progressive Rock structure.

Literary Techniques:

• Juxtaposition: Anderson contrasts the frantic imagery of sports ("shoots," "race," "chase") with meditative concepts ("Cosmic Mind," "Love").
• Rhetorical Questions: "Should you really chase so hard?" challenges the listener to reflect on the nature of their own pursuits.
• Stream of Consciousness: The lyrical delivery often feels rapid and fluid, mimicking the rushing river or the race it describes.

"Going for the One" (the album) reached #1 on the UK Album Charts and remained there for two weeks, a significant feat for a Progressive Rock band in 1977, the year Punk Rock broke into the mainstream. The song marked a successful pivot for Yes, proving they could write shorter, more accessible rock songs without losing their complex identity.

The track is considered a staple in the Yes discography and a fan favorite, often featured in their live sets for decades. Its success helped stabilize the band's career during a tumultuous time in music history when "dinosaur" rock bands were being criticized. The 2003 Remaster is widely cited by audiophiles as a definitive version that captures the clarity of the Montreux recordings. The song's unique use of the pedal steel guitar remains one of the most distinctive instrumental choices in the classic rock canon.

The lyrics are rich with metaphors that connect the physical with the metaphysical:

• The Sport of Kings: Historically referring to horse racing, this symbolizes high-stakes worldly pursuits, competition, and the elite struggle for dominance. It represents the material world's version of "the race."
• The River / Rapids: Derived from a film Anderson saw about rafting the Grand Canyon, the river symbolizes the flow of life and the chaotic, uncontrollable forces of nature. navigating it requires balance, focus, and surrendering to the flow.
• The Cosmic Mind: A direct reference to the Universal Consciousness or the Divine intelligence that connects all things. It represents the ultimate destination of the spiritual seeker.
• "Going for the One": The central motif. It is a polysemic phrase meaning winning the race (first place), achieving a singularity of focus (the flow state), and merging with the Divine (The One).
• Grass / Taller than the grasses: Symbolizes humility and the relative smallness of the individual when pitted against the magnitude of nature or the cosmos.

"Going for the One": This is the central hook and title phrase. Its repetition serves as a mantra, reinforcing the theme of singular focus and ultimate achievement. It anchors the abstract verses with a clear, declarative statement of intent.

"Listen to the..." / "Speak to me...": The song features calls to communication, suggesting a dialogue between the seeker and the higher power or the "Cosmic Mind." These imperatives invite the listener to pay attention to something beyond the physical noise.

Musical Motif: The Slide Lick: Steve Howe's descending and ascending pedal steel lick is the musical equivalent of the title phrase. It recurs throughout the song, acting as a sonic burst of adrenaline that ties the verses and choruses together.