Episodes YMP Classic Feed

Going For The One ‘Lost’ Songs – 302

Going for the One
Going for the One

Produced by Preston Frazier, Bill Govier, Wayne Hall and Michel Arsenault.

We listen to the extra songs on the expanded and remastered Going For The One reissue and Miguel Falcao gives us an in-depth look at the Chris Squire masterpiece, Amazing Grace. There’s also a 2 pence on posthumous songs/albums.

  • Are any of the extra songs worth listening to?
  • Why did Chris Squire shelve his solo for so long?
  • What do you think about developing and releasing late Yes men’s recordings?

Listen to the episode then let us know what you think!

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Mabel Greer’s Toyshop – new album, ‘The Secret’.

Adrian Beeby’s Crowzone Prog Show

Fred Barringer’s re-imagined Yes covers:

Joseph Cottrell’s Tales and Relayer:


Show notes and links

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Yes Music PodcastYMP patrons:

Preston Frazier | Bill Govier | Wayne Hall | Michel Arsenault

Joseph Cottrell | Jeffrey Crecelius | Michael O’Connor | Paul Tomei | Geoffrey Mason | Lobate Scarp | Fergus Cubbage | Robert Nasir | Steve Dill

Paul Wilson | Jamie McQuinn | Miguel Falcão | Ken Fuller | David Pannell | Brian Sullivan | Joost Doesburg | Jeremy North | Tim Stannard | David Watkinson | Steve Roehr | Geoff Baillie | William Hayes


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Theme music

The music I use is the last movement of Stravinsky’s Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert – I put it together from the following two creative commons sources: thanvannispen and

10 replies on “Going For The One ‘Lost’ Songs – 302”

I welcome the challenge. That cover def. needs a Dean reimagining. Just give me a little time, stay tuned…

Ok all, I have posted not One, but Two “Alternate-Reality” Tomato Covers based on (mostly) Roger Dean artwork to Kevin. The first is a chaotic Sci-Fi “shuttle throughout the Dean Universe” as the band are on a Yes-Tor. That, and the album SOUNDS chaotic. Find the band in there?

The Second option tries to take a more formal and graphic approach.

Any favorites–vote away! And if anyone has another album challenge let me know…

I think Miguel might be right about the possible overdubbed crowd on Chris’ solo; However, I’ve noticed that American fans seem to react differently to certain types of music (ie., Yes) than our English counterparts. Listen to “The Fish” from Yessongs. The crowd becomes almost dead quiet as they hang on every note. They seem to treat it a little more like a classical music piece. Of course, I’m postulating an idea on one recording of a bass solo, so I could be completely wrong. Any thoughts?

In my experience, most USA crowds prefer to hear their own whistling and whooping at the drop of a silent hat, than to let the music sing for itself. I’ve never understood why most live albums are recorded over there which are spoilt by egocentric idiots. The best live albums are recorded in Europe where audiences are more appreciative.

I prefer the sound of the band rather than the competition. The live recordings sound live because they play it that way not because of the intrusion of idiots in the crowd.

Great show K&M.
First off, I thank Joey for a really interesting Yes tribute / narrative. What a great experience.
Then an amazing lesson in Chris’s bass technique by our favourite sometime contributor Miguel. He is the Man, though he’d be too humble to accept the accolade. I wish you could coax him to bring his expertise to the pod more often.
I liked the analysis of the extra tracks to the GFTO reissue. You make them seem quite good! I’ll have to try and give them an audition.
Then the geek out over the tech.
While I bow to Mark’s experience as a musician and producer I thought that bass pedals were a part of organ playing. An extra set of keys played by the feet with the same layout as a keyboard. I’m sure that all church organs have these, giving the 64′ range. Kevin you should know. The Hammond etc electronic organs had the same feature. I presumed that the bass pedals played by Mike Rutherford et al were just that part of an electronic organ rather than being Moog synth instruments. I’m glad you mentioned Mike Rutherford Mark, as he was the first rock musician I was aware of you use them, even got a name check on Genesis Live.
Anyway, so much to enjoy chaps. I just hope you’re not burning all of your matches! Oh I didn’t comment on the posthumous recordings…

Love GFTO, and the extras are nice gems. Having just seen Awaken again for the second time on the just finished ARW tour I must say that I wish there was an edited version (heresy I know!) but it did drag….. a…….. little…. bit…, where as a trimmed version might have served the concert better—not unlike Roundabout has been over the decades.

Greetings, fellow YMP listeners and producers!
I’d like to add my two (or three) cents here:

About Montreux’s Theme – I do get the feeling of a “short and sweet” piece, rather than an unfinished song. Maybe because the song wasn’t vocalized it didn’t make into the album? Did you notice all the leftovers are i) instrumental and ii) have a Swiss location title (no vocals/lyrics).
Here are my two takes using different basses

Finally, Chris mentions on the Starlicks video that he also started with a set of organ pedals himself, and then with a brand of bass pedals called Dutron, from Italy. Only after that came the Moog Taurus. Sidenote – as the Taurus/Dutron were basically analog synths you could set the octave range to generate higher pitched sounds, which Geedy Lee did. Chris, on the contrary, went lower! For example, in We Can Fly From Here, Chris used A key an octave lower than the “normal” bass pedal C1-C2 range. Of course by then Chris was already using samples triggered by his combined switching-effect + bass pedals board set. Chris sampled a mixture of both the Dutron and the Moog sounds.

Thank you for your kind comments. It’s been a pleasure to contribute again to the YMP.

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