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Yes singles part 8 – Going For The One – 322

Going For The One and its singles
Going For The One and its singles

Produced by Robert Nasir, Jeffrey Crecelius, Wayne Hall, Preston Frazier and Bill Govier.

We have reached Going For The One in our grand progress through the Yes singles so we listen to Wonderous Stories, Going For The One and their respective B sides as well as mentioning a few oddities!

The Two Pence section focuses on the new Trevor Horn re-working of Fly From Here – Return Trip which has us both quite excited.

  • Did the band deliberately write singles for Going For The One?
  • Is Wonderous Stories the perfect Yes single?
  • Are Awaken or Parallels really B sides?

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

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Yes Music PodcastYMP patrons:

Robert Nasir | Jeffrey Crecelius | Preston Frazier | Bill Govier | Wayne Hall |

Joseph Cottrell | Michael O’Connor | Paul Tomei | Geoffrey Mason | Lobate Scarp | Fergus Cubbage | Steve Dill | Steve Scott

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 | Terence Sadler | Neal Kaforey | Simon Barrow |


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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

7 replies on “Yes singles part 8 – Going For The One – 322”

Kevin, I accept your challenge. Please tell Mark how to pronounce “Mull of Kintyre”. (That one hurt my ears)

GTTO was released in the U.S. on July 7. 7/7/77. I bought it on the 7th on vinyl, and cassette for the car. I have Atlantic Records lists that show the 7th. Now, some sources, including an Atlantic Yes document I’ve seen, site the 12th-perhaps that was the UK. Mark said the 15th, which I see is on Wikipedia. That is definitely not accurate for the U.S. New releases did not come out on Fridays then, and the 15th was a Friday. Remember I was on the air as a radio dj then, since ’75. We got our radio vinyl copy on the Monday, the 4th, so I listened to it then in the production studio.

Don’t get me wrong – I loved Trevor Horne’s work on “Drama” and I totally respect his craft. I just feel that his work as “replacement” lead vocalist on “Fly” is disrespectful to Benoit David, even if David did give his approval (of course, how could he actually refuse? As far as Yes goes, they probably see him as just another “one-and-done.”)
The only other time I can recall something like this happening is when Frank Zappa re-released the original Mothers albums with new bass and drum tracks. He said it was because Verve Records had not taken care of the tapes and the tracks were damaged, but everybody knew he was fighting with the original musicians at the time over royalties. I’m not saying that Yes is trying to “erase” David’s contribution, but if the new edition of “Fly” becomes the only one available that will be significant.

I have a general question about FFH- Return Trip. Will this be available through the usual outlets after the convention, Amazon US, Spotify, etc? Does anyone know?


As far as we can tell it will only be available via the Pledge Music site which means it might be a limited supply but that’s all guess work!

Kevin you mentioned something about Mark’s pronunciation. I think I may be the one you referred to as likely to make a comment thereon. I confess however that I’ve become bored by Mark’s geek comments about the minutiae of the single releases, dates and countries and arrangements. None of this is relevant to Yes fans who bought albums and not completists. I fast forward Mark’s bits now.

The first Yes single I ever heard on the radio was Wonderous Stories. That shows how unimportant singles were back then. In the UK radio 1 played crappy pop during the day then at night, John Peel who was the only series DJ wasn’t a fan of prog. Alan Freeman on saturday afternoon played prog but not singles.

This series of podcasts is becoming a real drag as it means nothing to Yes fans who bought only albums. I understand completely why you are staying with it as it is better at least than the Yes v ARW or HOF nonsense. Just tell Mark that his geeking out is pointless as it is irrelevant. I don’t think he understood my Minnie Ripperton comment as being ironic.

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