Chris Squire’s impact on the world of progressive rock is still felt to this day – as is the music he helped create. A decade after his death, Prog asked former bandmates, collaborators and artists who are fans to share their favourite songs from his catalogue.
“In my opinion, Chris Squire was the greatest rock bass player that ever lived,” says Steve Stevens, who played with the late Yes powerhouse in Conspiracy. It’s a sentiment repeated time and again from the friends, collaborators and fans Prog spoke to.
Squire was the only Yes member to appear on every album from their eponymous debut in 1969 to Heaven & Earth 45 years later, while the outfit rotated singers, guitarists, keyboardists and drummers alike. The bassist was the bedrock upon which Yes constructed their reputation and legacy.
Beyond that, Squire released just two solo albums: 1975’s Fish Out Of Water, a popular choice with our interviewees; and 2007’s collection of Christmas songs, Chris Squire’s Swiss Choir. He collaborated regularly with Steve Hackett and Rick Wakeman on their solo ventures, forming the sadly short- lived Squackett with the former, and released two albums and a live concert DVD with Conspiracy.
Whatever the setting, his aggressive yet articulate sound was unmistakable, imitated and admired in equal measure. “I saw Yes around Topographic Oceans,” says Dug Pinnick of King’s X. “I remember standing in the audience, waiting for them to set their equipment up.
“When I saw them roll out a bass amp and a Marshall cabinet with a Rickenbacker sitting in front of it, I’m going, ‘That’s how he does it – guitar head and a bass head!’ So that’s what I’ve been using for the last 50 years. I forged my own sound from him.”
Alongside his musical accomplishments, it’s clear how much Squire was beloved by those whose lives he touched. “I, along with everyone who knew him, will miss and never forget the magnificent Chris Squire,” says Jay Schellen.
Gentle Giant’s John P Weathers adds: “Aspiring young bass players will forever use his wonderful playing as inspiration. As a musician I can truly say that you couldn’t ask for more.”
Astral Traveller
Yes – Time And A Word, 1970
Lee Pomeroy, English Rock Ensemble: “I’ve loved this track ever since I first clapped ears on it over 40 years ago on the much underrated Time And A Word album. I was floored by Chris’s staggering, earth-shattering bass sound. What a riff! The sheer inventiveness and force of nature of his playing – twinned with the fact that the bass was the loudest thing in the mix – was so exciting. Here was the bass as a lead instrument and I loved it.
“Yes still had a 60s psychedelic vibe back then and I’d never heard bass playing like it. All of Chris’ work has had an enormous influence on me as a player; he was a true bass innovator without equal in my book.”
Yours Is No Disgrace
Yes – The Yes Album, 1971
Tony Kaye, Yes: “Yours Is No Disgrace – or as Bill Bruford liked to call it, ‘Your Nose Is A Disgrace’ – was a song composed by the band in rehearsals. Chris’ dominant lead bass sound was a pivotal reason why the Yes sound has endured for many decades.
“If memory serves me correctly, it was conceived with Steve Howe and I driving around the Devonshire countryside, me driving rather slowly, with Steve’s guitar poking out of the car window, both of us slightly worse for wear after a stop at our local pub. A perfect inspiration for a perfect song!
“Chris’ enthusiasm for our inspired musings that night in rehearsal, combined with his commanding bass playing, resulted in one of my favourite Yes songs.”
Starship Trooper
Yes – The Yes Album, 1971
Dave Oberlé, Gryphon: “It was 1971 and we had a shared house in Raynes Park, London. I can’t remember who bought The Yes Album, but we put it on the stereo and were completely transfixed.
“Starship Trooper instantly grabbed my attention. Chris’ technique of mixing fret buzz and his use of a pick gave the bass a dynamic, sharp attack, mixing high bright and solid low frequencies. He used the pick followed by his thumb to create his unique sound. The idea of the bass becoming a lead instrument set him aside from his peer group.
“Having seen him play live so many times, he was always the bedrock to the Yes sound. As a drummer I would love to have played with him. He was a remarkable and incredibly creative player who has inspired so many, and it’s very unlikely that we will see his like again.”
I’ve Seen All Good People
Yes – The Yes Album, 1971
Phillip Eldridge-Smith, Teiger: “I first heard the single version, Your Move, years ago among my parents’ weekend music choices. But I didn’t realise there was a whole other song after the single until around 2003! That took me on a long deep dive into Yes.
“I smile every time those harmonies kick in at the start. When the groove drops after Your Move it’s still exciting, despite having been on all my driving playlists for over a decade.
“Chris Squire is a bassist’s bassist. Learning Roundabout, I’ve Seen All Good People and Hold Out Your Hand will level you up! A pioneering giant among giants, responsible for some of the grooviest, catchiest pure prog rock masterpieces ever.”
Roundabout
Yes – Fragile, 1971
Amanda Lehmann: “I first heard Roundabout at a friend’s house when I was a teenager. I was playing in prog and rock bands and deeply into learning how to construct great songs. Roundabout takes you on an intricate journey of different episodes. I’ve always loved the clarity of the sound, allowing you to tune into any one of the instruments and hear them distinctly, like turning up a fader on a mixing desk.
“Many years later I was fortunate to meet Chris, initially through my involvement in the Squackett album, A Life Within A Day. Chris’ larger- than-life personality and quick mind matched the bassist I’d listened to over the years.
“There’s no doubt that Chris’s playing will inspire players – new and established – into the future, with his sense of rhythm, ingenuity and his sheer joy of every fret of the instrument.”
South Side Of The Sky
Yes – Fragile, 1971
Oliver Wakeman: “The thing with South Side is that you get drawn into the frantic lead guitar; but watching Chris play, I realised how much his bass part brought to the piece. It provided its aggression and drive, but later you hear the delicacy of his playing as he explores melodies up the neck of his Rickenbacker. He really did wring every melody he could out of his instrument.
“What made the piece even more amazing was Chris’ vocals, particularly the middle section where he’s singing quite high melodies while playing a complex bass part – quite outstanding!
“I love the original, but I have a soft spot for the version on In The Present – Live From Lyon as it brings back wonderful memories of performing onstage next to Chris. I still can’t quite believe he’s not with us any more.”
Long Distance Runaround
Yes – Fragile, 1971
Derek Shulman, Gentle Giant: “I remember hearing the album back when Gentle Giant were recording Acquiring The Taste at Advision Studios in London. Yes recorded Fragile at the same studio at almost the same time.
“The song itself is a very melodic classic Yes piece. The introduction shows off how Chris was able to sound unique – usually bass players are a part of the rhythm section, but in the intro he plays an incredible counterpoint to Steve Howe’s guitar line. His syncopation and tonal quality with a pick are fully on display.
“Chris was an inspiration to many musicians. I introduced Billy Sherwood to Chris way back, so I guess I have more of a bird’s eye view of Chris. He was a gentle soul but a fearless leader of Yes, as well as an incredible musician.”
Heart Of The Sunrise
Yes – Fragile, 1971
Rick Wakeman: “It was written during the first week or so of rehearsals in Shepherd Market, Mayfair. Chris arrived – late of course – and immediately spoke about 21st Century Schizoid Man, which he’d been listening to in his car. He loved the frantic playing, and had a bass line equally as frantic as the basis for a new piece. He played the now iconic line and Steve joined in.
“We discussed the line coming down as well as up, and I suggested they could cross over. We played around for quite some time. Steve had a little tag which fitted on the end; I came up with some chords, and quite quickly the piece evolved.
“It contains so many moods and genres. I think it’s an amazing piece – but I’m biased. The entire band were on the same page both in its composition and live performance. It doesn’t get any better than that!”
Close To The Edge
Yes – Close To The Edge, 1972
Dug Pinnick, King’s X: “The Fragile record told me you could do anything, but when Close To The Edge came out, they gave us this 18-minute song that was probably the best-written and executed I’ve ever heard. It was like a Beethoven symphony, with all the recurring themes in different modes.
“It was all about the bass for me – Chris just held everything together. No matter what everybody else was doing, he had a part that worked. He could go back and forth from double picking to grooving like James Jamerson.
“I find the bass lines in the chord like a piano player. That’s what he taught me. You don’t have to just play along with the keyboard or guitar – you can find your groove.”
And You And I
Yes – Close To The Edge, 1972
Neal Morse, NMB, Cosmic Cathedral, Transatlantic: “We went to see Black Sabbath at the LA Forum in 1972 and there was a little-known band opening for them called Yes. It was literally a life-changing moment for me.
“I wouldn’t have thought about it in these terms when I was 12; but I find And You And I is transporting. When Chris and Jon both sing ‘call’ and the Mellotron fades in, that’s a moment I’ve tried to create in my music. It just takes you into a higher realm.
“I’m a skier; sometimes when I’m in a particularly beautiful place, I sing And You And I out loud as I’m experiencing the majesty of the mountains. No other song fits quite as well!”
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