of the band in the studio; White counted the band in and they played the song through. On "Awaken", the organ is an overdub. Wakeman described the experience as "absolute magic". Wakeman changed his sound on the album with the use of a Polymoog, a polyphonic analogue synthesiser, which supplemented his traditional use of the Mellotron, Hammond organ, the RMI Electra Piano, and Minimoog synthesiser. Songs Side one "Going for the One" was originally written by Anderson around two or three years before the album was recorded. He had presented the song to the group at the time of writing, but the other members decided against recording it and the song was discarded. Squire rediscovered the song on a cassette which he brought into the studio one day, and it was chosen for further development. Howe plays a steel guitar for the entire song, an instrument he had introduced to the band on their previous album, Relayer; the introduction is what he had played during sound checks while on tour. Its meaning was inspired from various ideas, including sport, horse racing, a film he once saw about "going down the Grand Canyon river on one of those rubber dinghies", and "the cosmic mind". Some years later, he viewed the track as "a dynamic piece of music" that was an underrated and underplayed song in the band's repertoire. "Turn of the Century" is credited to Anderson, Howe and White, the only track on the album that credits the latter as a writer. The song tells the story of Roan, a sculptor whose wife dies in the winter and, while in grief of her death, carves a statue of her and she is brought back to life. Anderson gained the idea from the opera La bohème, with additional inspiration from the Greek mythological figure Pygmalion, who falls in love with a statue of a woman that he carved. It was considerably shorter in length in its original form, but as the band continued to develop the song further Anderson suggested the song should tell the story musically before he added lyrics. White came up with the song's chord sequences on piano and also wrote the initial vocal melody, which Anderson took a liking to and wrote words for: the chords were later developed further in certain sections by Howe. White also wrote the section where the drums incorporate the tympani towards the