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By ProgBlog, Jul 5 2015 07:31PM

Chris Squire died last weekend aged 67, a couple of weeks after announcing that he was being treated for Acute Erythroid Leukaemia. A true giant of the bass and the last original member of Yes, the only one to have appeared on all the studio albums, he leaves an astounding sonic legacy and will be sorely missed; it was nice to read Jon Anderson’s tribute considering the way Anderson had been moved out of the group following his hospitalisation with acute respiratory failure in 2008 but he had some generous words for his co-founder of one of the most long-lasting and best-loved progressive rock acts: “I feel blessed to have created some wonderful, adventurous, music with him. We travelled a road less travelled and I'm so thankful that he climbed the musical mountains with me. Throughout everything, he was still my brother, and I'm so glad we were able to reconnect recently. I saw him in my meditation last night, and he was radiant. My heart goes out to his family and loved ones.”

It didn’t take me long to work out he had a distinctive style and was by far the best bassist of all the bands I started off listening to. As someone who used to pick up musical instrument catalogues and check out guitar manufacturers and models it was a bit of a novelty to see him play a Rickenbacker 4001 when most of his contemporaries owned Fenders or occasionally a Gibson. The trebly sound and the harmonic and contrapuntal lines were something of a trademark that even in 1972 I recognised was one of the defining features of Yes but I’m now going to suggest something that might be unpopular with some readers: I believe Squire’s influence was diminished after the arrival of Steve Howe. The Yes Album was the beginning of the Yes breakthrough with all the material written by the members including four long compositions but the one track on the record that I think best represents Squire’s writing, I’ve Seen All Good People, is in my opinion the weakest track, with a structure that conforms more to normal rock. Roundabout from the next album Fragile is almost an exercise in setting out the template for Yes music that followed and was written by Anderson and Howe despite the inclusion of two other extended-form pieces on the record, the heavy South Side of the Sky and the sublime Heart of the Sunrise, both of which were co-written by Squire. It’s the presence of Rick Wakeman that enables Yes to realise their full potential and though he isn’t given many writing credits, his ability to turn the ideas of the main composers into reality coupled with his embrace of keyboard technology and the potential to integrate their sounds into the band’s written material, launched the band to the forefront of symphonic prog.

Jumping forward a couple of years to the hiatus of 1975, Squire recorded the brilliant solo album Fish out of Water that I think has a feel closer to The Yes Album than any of the three studio albums which appeared between these two. It could be argued that there’s a sonic link between Fish out of Water and Going for the One because of the inclusion of Parallels in the latter which, if I remember correctly, is based on material left over from the former. Certainly Parallels has a strong analogy with Hold Out Your Hand but it has been put through the Yes-machine and includes some clear, soaring guitar from Steve Howe; Fish out of Water is quite notable for its absence of guitar (you can pick out some 12 string electric from time to time) and absence of complex keyboard parts. It’s almost as though Squire has gone back to basics, the pipe organ from Barry Rose hints at Squire’s church music background and the Hammond, played by Patrick Moraz, is reminiscent of the uncluttered Yes featuring Tony Kaye. The orchestration, possibly in lieu of multiple keyboard parts, is highly effective, especially the section at the beginning of Silently Falling where the wind instruments conjure images of leaves spiralling from trees in an autumn breeze. This, along with the pianos, was provided by old friend Andrew Pryce Jackman.

When you think of Yes lyrics you immediately think of Anderson flights of fancy and obscure images but it’s important to remember that Squire had the same outlook, who also writes about seeking higher attainment and cosmic harmony but tends to use language that is more grounded in the everyday. This attitude can also be found in the music, where Eastern influences come across in the multiple false endings of Safe (Canon Song). One of the minor surprises of Fish out of Water is the list of guest musicians. Alan White may have been unavailable, working on his own solo project and Squire was reunited with former band mate Bill Bruford on drums; the King Crimson connection is strengthened with the inclusion of Mel Collins on saxophones and Peter Sinfield who made suggestions for Safe; Canterbury stalwart Jimmy Hastings adds some beautiful flute. Squire’s voice is solid throughout and his multi-tracked harmony parts, reflecting the influences that shaped him as a musician, work really well. The worst thing about the album doesn’t relate to the music, which deserved a better sleeve. Brian Lane’s Polaroid of Squire is rather poor and the album would have looked much better had the stained-glass fish picture, which was included in the original LP as a full size poster that graced a number of my bedroom walls at home and then as I moved around as a student and a young adult, been placed on the cover rather than the back.

I think that Chris Squire was able to influence the direction of the music once again when Anderson and Wakeman departed before Drama. There were a number of factors that came into play, outside the sphere of the musicians themselves that shaped Yes music. I’m no fan of 90125, Big Generator or Talk and I don’t listen to Open Your Eyes or The Ladder. I’m ambivalent about the studio tracks on the two Keys to Ascension CDs and I do like Magnification, more than Fly from Here. The relationship between the band members around the time of Union can’t have helped the creative process and apart from The More We Live – Let Go I much prefer the ABWH tracks; I would have waited for Ever, on which Squire lends his vocals, harks back to the classic Yes sound. I guess I’m suggesting that in the Anderson-free Yes, Squire, through no fault of his own, was captaining the ship on a downward course. I don’t intend to buy a copy of Heaven & Earth because the band moved away from creating innovative and challenging music. Fly from Here had provided a glimmer of old Yes with the multi-part title track but that’s because it was based on music conceived around the time of Drama. One problem I have with that particular album is that rightly or wrongly, I associate Squire with the decision to axe Oliver Wakeman from the line-up at that point.

Extrovert and often seen wearing stage gear as outlandish as anything Wakeman could come up with when performing – feather boas sticking out of high boots was one outfit I remember from a concert programme, Squire was quiet and thoughtful off stage and, according to my friend Neil Jellis who encountered Squire at a Rick Wakeman gig in Buxton, he’s very pleasant to chat with. Squire’s remarkable talent of helping to flesh out Anderson’s sketchy visions, an incredible ability on the bass and an aptitude for harmony gained through his choirboy youth made him an irreplaceable member of Yes and a genuine prog luminary. The progressive rock world has lost a very gifted individual.


Christopher Russell Edward Squire b. 4th March 1948 d. 27th June 2015



By ProgBlog, Sep 14 2014 10:18PM

The eponymous Anderson, Bruford, Wakeman, Howe album has just been repackaged in a Roger Dean illustrated box, 25 years after its original release. There’s also been a re-release of Songs from Tsonga, the 35th anniversary tour video which originally came out only 10 years ago. These retrospectives are hot on the heels of a new Yes album, Heaven & Earth; a reader’s poll for Prog magazine that named Close to the Edge the best prog album; and also the release of the most recent Steven Wilson remix of a classic Yes album, The Yes Album.

AWBH contrasts widely with the contemporaneous Yes and I believe a reflection on their relative merits is helpful in understanding the enigma of Yes magic. My personal interest in the band goes back to 1972 and the release of Close to the Edge. This was the first album I ever listened to, having previously heard and watched nothing other than the groups on BBC TV’s Top of the Pops, and it’s fair to say that it changed my life. Checking out the previous releases of the band was an obvious step and this resulted in the acquisition of Fragile, The Yes Album and then in late 1973, new release Tales from Topographic Oceans. Relayer had been added to the collection before I bought the retrospective compilation Yesterdays in 1975. At this stage I was able to formulate a view of Yes music that has remained pretty much unchanged to the present day, and one that seems to be shared with a large number of Yes fans: Close to the Edge is not only the best Yes album, it is the best album, period. Fragile contains some of the most revolutionary pieces of music for the time and is an obvious stepping stone to the perfection of their next release. This was possible because of the integration of Rick Wakeman into the group because his proficiency on keyboards was matched by his willingness to broaden the sonic palette required by the vision of the band. I’ve previously written that I regard Tales as something of a misunderstood masterpiece and that only Yes in 1973 could have attempted to undertake something as different, as brave as that. One of the great unknowns is what Tales would have sounded like with Bill Bruford because, though Alan White performs admirably on Tales, I don’t believe he’s in the same class as Bruford. The qualitative difference between pre-Wakeman and Wakeman-Yes is evident when you compare The Yes Album and Fragile and the relationship between the two is similar to that between Fragile and Close to the Edge; The Yes Album is more adventurous than its two predecessors with four original long-form compositions making up the bulk of the album, but the sounds available were limited to piano, organ and, for the first time on material by Yes, a little bit of Moog. Until I bought Yesterdays I hadn’t heard Peter Banks’ guitar and though I find it effective and fitting for the early Yes material, the diversity of styles and sounds and the song-writing ability introduced by Steve Howe, was a key to the transformation of a good band into something unimaginably good.

The musical progress came hand-in-hand with personnel changes. It often seemed as though the ambition of Jon Anderson was a driver for the required change though the replacement of Bruford was a decision forced upon the band by the drummer, as he went off to challenge himself in the 1972 incarnation of King Crimson. Wakeman’s dissatisfaction with Tales and his solo success prompted him to jump ship but his replacement, Patrick Moraz, further demonstrated the internal tension and inherent instability of the group when he only managed to stay for one studio album, the excellent jazz-rock inflected Relayer.

The rise of punk and changes to the industry itself had an effect on the music produced by the band for their subsequent release which included the surprise return of Wakeman. Though the urgency of the title track showed that they had taken note of punk, the release of Wonderous Stories as a single was a nod to a more business-oriented record label. Yet they still included the stunning, almost side-long Awaken; another contender for best prog track, ever. Though the Going for the One line-up remained intact for the recording of their ninth studio album, Tormato, the results were rather confused and the product was incoherent, despite containing some good ideas. I went to see them play live for the first time on this tour and was pretty much blown away with the set, the musicianship and the ‘in-the-round’ presentation. The lack of an external producer was one reason why Tormato wasn’t such a complete or polished recording and this was addressed by the arrival of Roy Thomas Baker as producer for sessions that were meant to contribute to the follow-up. This didn’t work out and, along with the formation of new song writing partnerships, contributed to the departure of both Anderson and Wakeman.

The Drama album contains some good material and is well played but... But was this Yes? Keyboard and vocal duties had been taken up by novelty pop act The Buggles, Geoffrey Downes and Trevor Horn respectively. I bought the album, even quite liked it, but I didn’t go to see them when they played at the Lewisham Odeon, close to where I was living, in December 1980. The demise of this incarnation set the scene for two versions of Yes: Chris Squire and Alan White retained the band’s name, once more calling themselves Yes when Jon Anderson belatedly joined the Cinema project that also featured Tony Kaye and Trevor Rabin, releasing 90125 in 1983. This split Yes fans; the sound was very contemporary and the song writing was dominated by Rabin to the exclusion of the long-form, complex and cosmic. I was one of those who didn’t like the new-look Yes. The line-up lasted for another album before Anderson quit once more, seeking to recreate the classic Yes spirit. He drafted in Steve Howe, Rick Wakeman and Bill Bruford and Bruford brought along bassist/stick player Tony Levin. Their only album was released in 1989 and featured some material that was structurally similar to Tormato plus other multi-part compositions. The sound was modern but the spirit and concept were classic Yes. The real Yes were in hiatus at the time and were stirred into legal action to prevent ABWH from using references to the band name Yes. I’d been to see 90125 performed live in 1984 but I much preferred ABWH in 1989, seeing Bruford playing material he’d originally performed on album. More record company interference affected the mixing of the album, with none of the band members present at the final mix. It’s to be hoped that the reissue has addressed what Steve Howe described as being ‘guitar-light’. The album was no side-project. It was four musicians who had come back together to create something that they knew the fans were missing. Sadly, industry intervention ruined the follow-up project and ABWH were absorbed into Yes for the Union album and tour.

Yes seem to find it difficult to maintain a stable line-up but frequently revert to recycling past members. My last purchase was Fly from Here, which unsurprisingly harkens back to Drama-era Yes because Geoff Downes was brought in to replace Oliver Wakeman and the title track, a multi-part suite, was originally conceived during the Drama period. It’s unlikely that they’ll ever produce another Close to the Edge unless Anderson is brought back into the fold. There’s no longer any magic on record but the classic three album tour, which I saw at the Royal Albert Hall, was brilliantly received by the fans. We don’t want song-based albums, we want challenging side-long suites with analogue instrumentation and musical tension and contrast with soaring, uplifting themes. I think it’s time for another ABWH.


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