Continuing Prog’s rundown of Chris Squire’s 30 greatest musical moments, as chosen by the late bassist’s bandmates, collaborators and fans
Siberian Khatru
Yes – Close To The Edge, 1972
Steve Stevens, Billy Idol: “As a super-dedicated fan, I bought Close To The Edge the day it was released in the States. It really shows how Yes can rock and groove like no other band. The use of light and shade, aggression and beauty are unmatched, in my opinion.
“Chris has fully developed his sound and approach here, always holding down the bottom – much like a prog Larry Graham from Sly And The Family Stone. His note choice was always orchestral; at the same time his sound and attitude could be super funky and powerful. I was blessed to record with the man, and he was everything I had hoped he would be. The greatest rock bass player in history; and he was the coolest cat on four strings on stage as well.”
The Revealing Science of God
Yes – Tales From Topographic Oceans, 1973
Tim Bowness, No-Man: “Like a lot of the best Yes music, it’s a piece that embraces sweetness, space and atmosphere, as well as pure chaos and wildly unexpected shifts in rhythm and melody. There’s a classical grandeur to the song, but the scale doesn’t seem contrived. The band never lose sight of a good tune and there’s a manic urgency to many of the instrumental passages that tells you they’re still an exploratory rock band searching for new things to say.
“Chris uses every trick in his considerable armoury, from exquisite McCartney-esque accompaniment to thundering Entwistle-inspired runs to funky riffs. That underplays the fact that he had a distinctive sound as well as a rich voice that enhanced the band’s harmonies. He was a one-off talent in a one-of-a-kind musical collective.”
Ritual (Nouse Sommes Du Soleil)
Yes – Tales From Topographic Oceans, 1973
Tom Brislin, Yes, Kansas: “Ritual reminds me of the experience of touring with this group that has meant so much to me. On the Yessymphonic tour, playing the song felt like we were embarking on an adventure together. What’s interesting about Ritual is that much of the song is quite straight-ahead, earthy and natural, side-by-side with experimental aspects.
“One of my favourite things about Topographic is how themes and motifs emerge in different ways throughout the album. You’ve got melodic development, recapitulation, and other buzzwords that would make my college music theory professors proud!
“Chris enjoyed coming over to my keyboard world during shows – and it was always a highlight for me. Ritual was a fun playground for us to have a bit of musical dialogue and riff-trading. Every time I see that on Symphonic Live, I get a bit emotional because it was a moment when he and I bonded musically.”
The Gates Of Delirium
Yes – Relayer, 1974
Chris Goss, Masters Of Reality: “His musicality and ability to expose the harmonic intention of each segment of a piece of Yes’ music still hasn’t been expounded upon enough to this day. Instead of playing six or seven notes to underpin a sequence, he could do it with the use of a simple octave.
“He was a master of understanding the low end’s role to underpin and define; but instead of sounding plodding he was oddly graceful and supported the melodic intentions of the passage flawlessly and with astounding power. I’ve likened him to a 40ft-tall heron slowly treading a marsh, each step leading the way in a unique combination of power paired with a sympathetic awareness of what he was stepping on.
“Chris changed the perception of bass playing. From the moment Roundabout hit the airwaves, his bass was the standout factor we were all fascinated with.”
Sound Chaser
Yes – Relayer, 1974
Jimmy Haun, Yes, Arc Of Life: “It always sounds fresh, and there are still things I discover that I hadn’t before. It’s very joyous – whenever I put it on, it instantly perks up my mood. It sounds very jazz fusion at the beginning; then here comes Chris with a totally un-jazz approach! The band then lock onto the ostinato figure as Steve Howe dilates his line, giving the intro to the first verse an exciting crescendo.
“The fact that Chris maintains his same voice through all the chaos is the reason it works so well. He ploughs through straight ahead, keeping us rooted to the ground. It was just a mind-blowing ride of a song that burned its way to my soul.
“Being lucky enough to have played in his band, I’d say Chris has influenced my playing and attitude immensely on every level.”
Hold Out Your Hand
Chris Squire – Fish Out Of Water, 1975
Jay Schellen, Yes, Conspiracy: “I’ve always loved this track. While Chris’ bass line feels very smooth, Bill Bruford’s part is an amazing articulated counterpoint – brilliant! I was floored by their unique rhythm section sound.
“During rehearsals for our live Conspiracy filming, I began charting Bill’s drum part. When I finished each section I’d play it during a break. The second day, Chris came over and smiled, ‘Looks like you’ve got your hands full!’ The next day he played a verse with me, then the following day we played it through to the solo. I was thrilled the day after when he sang along and we played it to the end. Working with Chris is one of my fondest memories.”
You By My Side
Chris Squire – Fish Out Of Water, 1975
Martyn Adelman, The Syn: “I went to Chris’ house to photograph him for a Yes tour programme, and he led me through labyrinthine rooms to show me his newly-built recording studio, his library and a palatial waterbed. He’d begun work on his solo album; when I heard the final release it amazed me with its cathedral organ and Andrew Pryce Jackman’s arrangements.
“Being a devotee of Bach and his cantatas, You By My Side had me dancing. I was stunned by the direction in which Chris had taken the album. On recent listening, I’m still blown away by his – with respect – self-indulgence; but having known Chris from the early days of Syn, it was very him.
“The line-up of accomplished musicians – Bruford, Mel Collins and Patrick Moraz – gives the song great gravitas. I’m a sucker for anything with a Johann Sebastian influence!”
Lucky Seven
Chris Squire – Fish Out Of Water, 1975
Mel Collins, King Crimson: “When I arrived at Chris’ studio in his wonderful house in Virginia Water, he wasn’t feeling very well, so we decided I would take a couple of songs away and work out some parts for the saxes. I particularly liked Lucky Seven and I immediately had an idea for a line to play.
“I must admit I hadn’t heard it since we recorded it in 1975. I’ve signed countless Fish Out Of Water albums from fans waiting outside gigs, and they always mentioned it as their favourite track, so I thought I’d better have a listen and find out what the fuss was all about!
“I was pleasantly surprised with the arrangements of the saxes; the alto is pure and not double tracked; and the same with the soprano, which is left to solo out naturally.”
Going For The One
Yes – Going For The One, 1977
Steve Nardelli, The Syn: “It was at Chris’ home studio when he first played it to me. I was visiting with my wife and baby son Jago, so it’s always held a special memory for me. I couldn’t believe what I was listening to: a work of genius in every way.
“I love the dynamics; it’s a journey of musical joy from five brilliant musicians aligned to amazing and unique vocal structures – the essence of the halcyon days of Yes. For me, Chris has always been the foundation Yes was built on. With his distinctive and melodic bass structures and vocal harmonies, he was an irreplaceable musical genius.
“I was blessed to record with Chris with The Syn in 1967 and again in 2003 when writing and recording Syndestructible. He was the greatest bass player in prog rock history.”
Awaken
Yes – Going For The One, 1977
Roine Stolt, The Flower Kings, Transatlantic: “I remember liking it even at first listen, maybe because I was familiar with Yes’ style and followed their evolution or revolution. They were pushing boundaries like madmen, just like King Crimson.
“The form of this song is truly symphonic; the dynamics and textures have more in common with classical music than rock’n’roll. The rhythm and time signatures aren’t rock – a lot of it is in 11/8, but you never know with Yes; they go beyond boundaries.
“Chris helped me understand how a bass player can change the whole harmonic view of a music piece. He surely passed on what he nicked from McCartney, but added so much of his own – the Rickenbacker sound, his great stage presence, vocal harmonies. He was a bass giant, a cornerstone of Yes’ music, and a very nice guy.”
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