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Jon Anderson



When Jon Anderson and Chris Squire first formed Yes in 1968 in London, they talked about their vision for a new style of music: melodic, layered and poppy like some of the major groups they loved – The Beatles, Byrds and Simon and Garfunkel among them – but perhaps more expansive somehow, more dynamically rich. I seriously doubt they had anything like CLOSE TO THE EDGE in mind back then, as that sort of leap only became possible with the incredible level of musicianship brought to the group by Steve Howe, Rick Wakeman, et al. But yeah, they were thinking big. And their flair for melodic, commercially appealing classic rock was always present in their sound, no matter how Topographically expansive it got. These two solo reissues (we’re rather tardy getting a review up for Squire, but hey, it allows us to do this informative combo piece right now!) are terrific illustrations of the kind of diverse sonic stylin’ each musician felt free to do outside their mother group. They’re filled with craftsmanship, imaginative arrangements and an obvious love for romantic yet far-reaching pop rock ‘n roll.

JON ANDERSON, circa 1980 (uncredited photo)

SONG OF SEVEN was NOT Anderson’s solo debut; he’d already released the ethereal and somewhat esoteric OLIAS OF SUNHILLOW during a Yes break when all five members made solo albums. That album was sort of what you might have expected from ol’ Jon at the time… cosmic, spacey, drifty. Not so with SoS, though. What are fans of epic Yes to make of Jon singing lines like “Don’t forget I always want you by my side/Baby, by my side/Oh yeah, yeah, yeah… ”? Is this really the same guy that wrote “Dawn of the light lying between a silence and sold sources/Chased amid fusions of wonder…” etcetera? One and the same, yeah, yeah, yeah. Jon seemed to at least partially rebel against his “out there” image on some of the tracks here. He wanted to get straight to the “Heart of the Matter,” the title of the most conventional rocking song here. If not for that instantly recognizable high voice, this could be the kind of mainstream rocker, complete with breezy backing vocals, that any number of today’s more formulaic male artists might serve up. It’s upbeat to the max, and our hero even talks about getting his baby in the “back seat of my car,” which is sort of beyond belief if you stop to think about it. This ain’t Yes by a long shot! “Everybody Loves You” sounds a bit like Trevor Rabin-era Yes, with a normal chorus (“Everybody loves you/But I just love you a little bit more”) and an airy, sweet arrangement. The real gems, though, are “Take Your Time” and “Days.” The former is contemplative and relaxed as Anderson warns against rushing around too much and losing sight of the simple pleasures of love and enjoying each day. It’s short and agreeably low-key, making for one of his most enjoyable solo songs ever as a result. And there’s a nice keyboard bit and some fetching bass also, courtesy of John Giblin. Then comes the gorgeous “Days,” a Yes song in all but execution. It’s up there with “Wonderous Stories,” a recitation of nature imagery and the art of soaking up the beauty to be seen all around you, perhaps on a perfect spring day. There is no one better than Jon Anderson at this type of thing; you can just see him standing outside watching swallows circling, young deer sauntering through ferns in the mist, the aroma from the garden filling your nostrils… “The days are blessings,” he sings, and who would challenge the sentiment? Beautiful, and it’s followed by a harp solo, perfectly executed. This leads into some lush strings and the title epic, which is in a whole nother league from the earlier trifles I mentioned. In a piece that crosses the 11-minute mark (arguably a few minutes too long), with lyrics about how “everywhere you look you release parts of your senses/And everywhere there’s purpose and answers to all your dreams” as well as the line “starlight… telling me there’s something else to cling onto,” you get the trippy Jon most of us have come to cherish (or not)… he builds and cycles ever upward towards some lofty realization of the meaning of it all. There’s also a dazzling Clem Clemson guitar solo or two that sound like Steve Howe a bit, and some childlike voices joining in. This stuff isn’t for everyone, mind. Anderson’s core music requires you to lose your cynicism to fully enjoy it. But at least two thirds of this record is truly winning, and shows our prog hero loosening up quite a bit and demonstrating he can let his hair down when he wants. Sure, Anderson can be cloying here and there but damn, this guy loves music and life, and with his staggering body of work he’s earned the right to do whatever the hell he wants. And on this record he wants to just sing odes to the beauty and ultimate goodness of it all, including gettin’ down with your baby (and perhaps BABIES). You got a problem with that, head elsewhere, pal… This reissue does NOT offer much in the way of extras, though, just a couple of US single edits of “Some Are Born” and “Heart of the Matter.”


Chris Squire’s 1975 opus, FISH OUT OF WATER was his only major solo release, and as such earned plenty of attention. It’s a solid, compelling five-song disc showcasing both his legendary bass playing skills and his thin but pleasingly sincere vocals (Squire’s ability to serve up harmonies that perfectly complimented Jon Anderson made for part of that trademark Yes vocal sound). “Hold Out Your Hand” was a fairly popular single, balancing Squire’s fluid bass runs, some Wakeman-style organ (from Barry Ross and Wakeman’s replacement/predecessor, Patrick Moraz) and a bracing melody and arrangement. “You By My Side” is more pedestrian; a Yes veteran shouldn’t be writing stuff like “You know I love ya/I can’t be without ya/When I’m alone, I still feel this way about ya.” T’aint “Roundabout,” that’s for sure. To be fair, some lush orchestration later in the song improves things, and there is no doubting Squire’s melodic flair. As on Anderson’s disc, Squire also has an 11-minute opus for us after that, and it’s a doozy. “Silently Falling” opens with a gorgeous bit of old-fashioned classicism, with keyboards, flute and the like. Squire sings with a kind of achingly romantic tenderness, and his bass surges underneath the whole thing in that familiar Yes manner. Indeed, this whole thing sounds like Yes although without Anderson’s mystical tendencies. There’s a long keyboard-driven section that rocks but gets a tad repetitious, although you won’t mind if this aspect of the Yes sound is your thing. But Squire’s band cooks up a storm, that’s for sure. About halfway through, there’s a nice quiet passage, then a different section where Squire mostly sings “silently falling” over and over. You can picture him being lost in the majesty of the proceedings here, and it’s indeed substantial in that prog rocky way. “Lucky Seven” adds a bit of funk, introducing horns (not all that transcendent in my view), a nice Bill Bruford performance on percussion, and a decent string arrangement. Squire again sings mostly in a low key manner, which helps, since the music here isn’t always subtle. “Safe (Canon Song)” is the 15-minute magnum opus that rounds out the record, and it’s the most meaty and adventurous Squire solo track to date. Let me just say that the first minute and a half of this song struck me, when I first heard it long ago, as among the most beautiful passages on any rock record ever. The strings and piano are simply gorgeous and Squire’s plaintive vocal, opening with the phrase “When your savior lets you down… ” achieves an understated perfection. The music swells and flows, revealing the kind of powerful sense of purpose that Squire brought to many a Yes album. I simply love the verse where he sings “When you’re faced with all those doubts/Have no fear/When the changes come about/I’ll be here/I’ll be waiting beside you/To shelter your heart/Like a ship in a harbor… You will be, safe with me.” There is something so transcendent about this part of the song; it may well be the most soaringly romantic moment on any Yes solo album so far. It’s followed, then, by a particular series of notes that is repeated over and over on different instruments, including the string section. Squire plays one of his patented bass riffs to contrast with this semi-classical arrangement, squeezing out multiple variations of the same two or three ideas. Kudos to fine keyboard work by Moraz, Rose and Andrew Pryce Jackman as well. The piece lumbers along, taking no prisoners, and your own patience level will determine if you’re still digging it by the 10-minute mark or so. Myself, I am in awe of the sheer moxie it took to arrange this densely orchestrated beast, especially since Squire began it with such delicate beauty, and then gleefully allowed it to become this gargantuan epic of sonic razzle dazzle. It’s musically rich, and it helped FISH OUT OF WATER become one of the most popular Yes solo albums, one that still holds up nicely.

CHRIS SQUIRE, 1975 (photo credit: LAURENCE BERNES)

Disc 2 of this reissue includes the one-off Squire and Alan White collaboration “Run With the Fox,” which turned up on one of those Yes box sets sometime back. It’s a charming but unlikely Christmas song, full of seasonal exuberance and whimsy. Appearing with it is the seldom previously heard instrumental version called “Return of the Fox,” the B side of the original 1981 single. Although interesting if you like this sort of thing, it doesn’t really add much in terms of enjoyment. But the track with Squire’s vocal is undeniably a charming little ditty. You also get edited single versions of “Lucky Seven” and “Silently Falling,” although that latter piece is substantial enough that cutting it down to single size is a bit of an aesthetic insult. Still, Squire at least gave us one classic solo album before he died, to go with all the masterful, groundbreaking Yes compositions he had such a huge role in helping to create. Any true Yes fan probably should have this in their collection if they don’t already.



Jon Anderson has one of the most instantly recognizable voices in the world; as lead vocalist for prog rock titans Yes for the bulk of their storied career, his pipes became the vocal signature on dozens of vibrant rock classics such as “And You and I,” “Roundabout” and “Heart of the Sunrise.” Why Anderson is not still with Yes can best be left to another discussion, but the man still has a commanding, healthy sounding voice; he hardly seems to have aged at all despite his nearly 75 years of age. 1000 HANDS, Anderson’s latest opus, has been gestating for a number of years and earned its title at least partly from the exaggerated number of individuals who contributed to it. That includes former Yes associates like Steve Howe, Alan White and the late Chris Squire. So it stands to reason this dense new album will be of interest to Yes fans, but it’s also just a solid musical offering that anyone into lush, upbeat pop with classical leanings should be able to appreciate. It’s filled with spritely melodies, Anderson’s lyrical optimism and plenty of engaging instrumental interplay.


The album is bookended by two versions of a simple mostly acoustic song called “Now” in a brief into, then “Now and Again” as the fuller light rock song that ends the record (Howe guests on guitar here). “Ramalama” is a fun little piece that Anderson has said emerged from vocal exercises he was in the habit of doing. While one Anderson sings a repetitive “Dit di da,” another sings some lyrics about light, togetherness, finding your center and other standard Anderson concerns. The piece may remind some of Yes’ album 90210, especially the Rabin-penned “Leave It,” which I thought was extraordinary, myself. I’m hearing a banjo on this number, I believe, and that is kinda cool. By the time this song ends, it has thoroughly grabbed you and demonstrated Anderson’s absolute love of sheer sound, a real trademark of this iconic composer. “First Born Leaders” is an unlikely marriage of calypso and gospel stylings, featuring Larry Coryell guesting on guitar, a small choir and Anderson opening with a burst of smooth a cappella. “Everybody wants what they cannot have/Everybody needs what they cannot see/Everybody wants what they haven’t got at all,” goes the repeated chorus, and that’s pretty dang down to Earth for ol’ cosmic Jon. This is a melodic, upbeat tune that should please most music fans.

JON ANDERSON, 2016 (photo credit: JOE KLEON)

“Activate” features classical guitar and flute (by none other than Ian Anderson) and is one of the two tracks Chris Squire guests on, but at nearly 9 minutes is slightly too new agey for my taste. Anderson can’t stop his searchingly humanistic lyrics from simply pouring out in this song, and truthfully, they resonate quite well for the most part: “In accordance with the facts of life, we resolve to show the truth,” goes one lyric; “Don’t get in the way of the light that shines” is another. But I especially love this directive: “All you gotta do is mesmerize my heart and soul,” something I wish more artists would keep in mind. And the very poignant verse “And the only way we have of contacting you for sure/Is the melody of music and the harmony of love.” Although Anderson has voiced such sentiments countless times, I love the context here and it really moved me as a fellow musician. I only wish the song itself had contained more of the delicate beauty Anderson has been known to effortlessly conjure at times.


“Makes Me Happy” and “I Found Myself” are sugary pop truffles, the former a ukulele-featuring melodic rush that could get the kiddies dancing; it has uncommon musical efficiency and a genuine spark of joy. The unlikely guests here include Rick Derringer, the Tower of Power Horns and, golly, the “human beatbox,” Michael Winslow. Clearly Anderson kept the sonic palette wide open for this outing. The latter is a romantic love song that features acoustic guitars, violin and (I think) a double-tracked vocal by Jon, before a woman’s voice responds in pure affirmation of his loving expression. If you’re into birds, you’ll notice the prominent call of an Eastern Phoebe throughout, so either Anderson had his windows open when he recorded this, or he made it a point to include sounds of nature in the mix. Again, it’s worth noting the simplicity and directness of tunes like this; no cosmic couplets needed to be transported somewhere special.


The next three songs represent a sort of climactic and Yes-influenced sequence, with “Twice in a Lifetime” featuring instrumentation that evokes “Turn of the Century” a bit, and “WDMCF” (“Where does music come from?”) featuring lovely harmonies, a piano showcase by Chick Corea, and the kind of celebration of MUSIC that Jon Anderson has made a career out of (see “Awaken” and “Sound Chaser” among others). If you’re a fan of Yes, go straight to this track and turn it up loud; it’s the best song here. There is something riveting about hearing Anderson sing “Music, music/Music… come up, music come up” that hits the bulls-eye of Anderson’s many thematic targets. He’s the right guy to ask “Where does music come from?” and although he might take 20 minutes or more to answer such a question in conversation, here he does it in a sublime five and a half minutes. Stellar, man. “1000 Hands (Come Up)” is the second song in a row to repeatedly use the phrase “come up,” and here we get some overtly jazz stylings (Billy Cobham joins the ensemble), some fancy keys (Corea again) and a sharp bit of violin by Jean-Luc Ponty. Not to mention Squire again making a welcome appearance. Anderson sounds more casual and circumspect on this 8-minute-plus track, and it feels like slightly new territory for him. The whole intricate arrangement comes over like the work of a composer/sonic architect who has been around for a long time and is still searching for sparkling new sounds.

Which Anderson HAS been, and clearly IS. When he sings “Come up with me” on that previous song, it’s not just an invitation to listen, it’s a plea to move your entire vibration to a higher level in life. That’s sound advice, no pun intended, for this era in particular. Anderson may sometimes be cloying, and the overall success of his solo work (and even some Yes recordings) depends on how organically his aesthetic and lyrical explorations nestle into those intricate proggy sound beds his band is known for. When everything gels, the results are transcendent (stuff like “Awaken” and “Heart of the Sunrise,” and at least a couple of tracks here). When it doesn’t, or if you ain’t in the mood, the love-peace-togetherness vibe can get a bit tiresome. But it’s immensely reassuring to have a good Jon Anderson album out there right now, and to hear him sounding happy and caring about humanity as only he can. High vibration, go on… indeed. This enduring musical soul is more than worth listening to on these matters, and would that EVERY legendary musician could still sound so focused and healthy at his age.


(A heartfelt goodbye by KEVIN RENICK)

Chris Squire (uncredited photo)
Chris Squire (uncredited photo)

The “Fish” swims no more. Chris Squire, bassist and co-founder of legendary prog-rock band Yes, has passed away at age 67 from complications of leukemia. It’s an absolute shock how fast it happened, as we were only informed of his diagnosis this past May. But barely a month later, Squire is gone. As the only member of Yes to play on every single one of their albums, Squire achieved the ultimate in perfect “attendance,” and should’ve been given the opportunity to write a book about what it’s like to survive multiple incarnations of a mega-famous, influential band. The tall, lanky musician developed a signature pulsing, hypnotic style on bass that captivated millions of classic rock fans on Yes’ trifecta of ’70s masterpieces THE YES ALBUM, FRAGILE and CLOSE TO THE EDGE. While other bass players of note may have been more immediately engaging or melodic (Paul McCartney) or anchored their bands with more economy and finesse (John Entwistle of the Who, John Paul Jones of Led Zeppelin), it was arguably Squire who did the most to make the bass guitar a lead instrument in the ’70s, or to at least show that it could be one of the most prominent sonic elements in complex arrangements. Along with Jack Bruce of Cream and Les Claypool of Primus (who clearly took inspiration from Squire), the Yes visionary demonstrated new horizons for the bass guitar, new ways for lower frequencies and unexpected harmonics to provide dazzling depth and variety to what ultimately was still “rock” music. Squire was revered by fans, and certainly helped write a few new chapters in the book on what bass guitarists with imagination could achieve. It was easy to take his virtuosity for granted; he made it look easy. But it wasn’t. No way, or lots of guys would’ve done it.

A young Chris Squire, back row, center (uncredited photo)
A young Chris Squire, back row, center (uncredited photo)

Squire was born Christopher Russell Edward Squire in March 1948 in a northwest suburb of London called Kingsbury. He sang in choirs as a boy, and was greatly affected by the Beatles and Paul McCartney as a teenager. He dropped out of school in 1964, and soon formed his first group, the Selfs. A bad experience with LSD and subsequent recovery at his girlfriend’s apartment apparently led to Squire’s developing his unique style on the bass guitar. He purchased his signature Rickenbacker 4001 in 1965, and soon spent time in promising British bands the Syn and Mabel Greer’s Toyshop, a kind of precursor to Yes featuring Peter Banks. Influenced by Jack Bruce, John Entwistle and Larry Graham (bassist for Sly and the Family Stone and Graham Central Station), Squire had a fateful encounter with vocalist Jon Anderson at a Soho bar in early 1968. The two men shared a love for vocal harmonies and the melodic records of the Beatles, Simon and Garfunkel and the Fifth Dimension. Together with drummer Bill Bruford and keyboardist Tony Kaye, the band Yes was formed, releasing their self-titled debut in 1969. While the first two Yes albums hardly made the band superstars, interesting originals like “Beyond and Before,” “Survival” and “Time and a Word” complemented ambitious covers to reveal a band definitely aiming high and displaying a fearless attitude. THE YES ALBUM, their third effort (released in 1971), shot them to a whole new level as guitar genius Steve Howe joined and completed the “Anderson/Howe/Squire” co-composing credit that would grace many a classic at the time. “Yours Is No Disgrace,” “Starship Trooper” and “I’ve Seen All Good People” were all from this great album and remain staples of classic rock radio to this day. Squire’s inventive, riveting playing on these tracks was impossible to ignore, and by the time of 1972’s FRAGILE, on which keyboardist Rick Wakeman now completed a truly virtuoso lineup, Yes were one of the most popular bands on FM radio, and Chris Squire began topping magazine polls of beloved bassists. The band’s second release of the year, CLOSE TO THE EDGE then sealed the deal for the whole band, becoming one of the most enduring prog rock masterpieces of all time and greatly expanding the sonic palette for ambitious, large-scale rock music. It’s astounding, the distance the band traveled from covers of the Byrds and Buffalo Springfield on their first two records, to the side-long “Close to the Edge” and dense, wildly ambitious pieces like “Siberian Khatru” and “Heart of the Sunrise.” The music sounds thrilling even today.

Chris Squire (uncredited photo)
Chris Squire (uncredited photo)

There will be many tributes to Yes and Chris Squire in the days ahead. It’s not necessary to talk about their many personnel changes and controversies, or the way the band (and prog rock as a genre) fell out of favor many times. Here’s what is worth mentioning: Chris Squire hung in there, like the most stalwart, dedicated musician imaginable, through ALL of the band’s 21 studio albums (this does not count all the live recordings). When Jon Anderson and Rick Wakeman departed for 1980’s DRAMA, Squire spearheaded a new version of Yes, with a pair of Buggles in tow. When things really got bizarre between 1982 and 1983, with Steve Howe nowhere to be seen, and a group called Cinema featuring Squire and new guitarist Trevor Rabin somehow turning into yet another version of Yes, one that would invite Anderson back into the fold, ride the early wave of the MTV video era, and have their first top 10 single with the song “Owner of a Lonely Heart,” well, imagine how it must have felt to be Chris Squire at the time, enjoying a level of success that even he had to be surprised by. And thereafter, a whole series of members that came and went, came and went, sometimes old and sometimes new, with hugely controversial developments like beloved singer Jon Anderson being squeezed out of the band for having health problems that took too long to improve, and the lead singer of a Yes TRIBUTE band actually replacing him for a while. The Yes story kept changing and unfolding in real time, annoying many fans, earning begrudging admiration from others. But always, Mister Chris Squire was there, keeping the flame alive, talking about the value of the music, and showing immense respect for the fans around the world. Squire knew that this prog rock behemoth he’d helped invent was too special to let it die. And apparently even when he knew he could not be part of the band’s scheduled 2015 summer tour due to his illness, he made public statements that the show would go on, and that fans would still get the “Yes experience” they had come to expect. But, would it truly be Yes without THE MAN, the amazing bass player and singer who’d been on every album in the band’s considerable canon? Isn’t a Squire-less YES more of a MAYBE, a true question mark when the chief anchoring force has gone to rock heaven? Let the debate begin. But honestly, I just can’t imagine Yes without Chris Squire. I go back too far with him. I met Chris Squire twice, after legendary shows in the late ’70s in Saint Louis. Dapper, charismatic, and unfailingly polite, Squire was amiable at signing autographs, and never anything less than dignified and attentive when it came to answering questions and talking up the legacy of his band. To be a musician of such stature, doing what you do throughout changing decades and shifting musical tastes, requires a level of resolve and confidence that not all possess, to say the least. Squire’s achievements in Yes and on the bass are staggering; he was unarguably one of the best musicians in the history of prog, and one of the most unflappable. Few fans would say that Yes were still making indispensable music in recent years, and Squire, who only released one solo album (1975’s excellent FISH OUT OF WATER), didn’t seem that set on adding much more solo work to his legacy. Instead, he seemed content to keep changing and adapting Yes to every new challenge that came along. But his illness was one challenge he could not overcome, and now millions of fans will be reeling from the loss of this singular musician. The records will always be there to listen to and rediscover, however. And even if Yes are not in the Rock and Roll Hall of Fame, as they should be, Chris Squire belongs in any bass player hall of fame, as well as on ANY listing of musicians who proved what dedication, discipline and adaptability are all about through a lifelong body of work. Rest in peace, Mister Squire. You got “close to the edge” throughout your work and life many times, and now you have crossed over. Thanks for “going for the one” in almost every recording you made. It’s a legacy that is anything but “fragile,” for sure. High vibration, go on…


1. YOURS IS NO DISGRACE – This 1971 fan favorite was a surging, soaring piece of prog rock bliss that featured shifting tempos, dynamic breaks and a stellar early example of Chris Squire’s throbbing, upfront bass playing. The medium had to accommodate a NEW message from here on.

2. LONG DISTANCE RUNAROUND/THE FISH (SHINDLERIA PRAEMATURUS) – Without a doubt, 1972 was the year of YES. These days, it would be hard to imagine an artist putting out two all-time classics in one year, but imagine putting out two gems like FRAGILE and CLOSE TO THE EDGE within mere months of each other. Squire’s supercharged ascending lines on “Runaround” coupled with his 4- and 5-note punctuation phrases while Jon Anderson sings, comprise some of the best bass playing ever recorded. Then couple THAT with his harmonics-laden, experimental solo segue “The Fish,” which becomes transfixing in a short time, and you’ve got, well, six minutes of Squire showing why he’s a legend on his instrument.

3. CLOSE TO THE EDGE – Much has been written about this side-long thematic epic; it is arguably one of the all-time high points of progressive rock performance and arrangement. Squire’s bass becomes a lumbering, wandering beast that stomps its way right through every formula or “template” ever made for the instrument, like a brainy, determined dinosaur. Electrifying in every sense of the word, from the famous opening chords that follow the slow ambient fade-in, to the riveting climax and fade-out. Yes belong in the Hall of Fame for this album alone, damn it.

Chris Squire (photo credit: GLENN GOTTLIEB)
Chris Squire (photo credit: GLENN GOTTLIEB)

4. ON THE SILENT WINGS OF FREEDOM – The 1978 album TORMATO was not a classic by any means, but this amazing song WAS. Co-written by Squire, it’s a propulsive, uplifting gem seemingly about potential and pushing past limitations, something Squire could write the book on. His bass playing is magnificent throughout, featuring a dynamic, repeating 7-note plus sequence that is killer, and some gorgeous, haunting overtones later in the piece. Absolute splendor from their sometimes maligned late ’70s period.

5. OWNER OF A LONELY HEART – One of the most unlikely hit singles in rock history, the epitome of Yes reinventing themselves in the early ’80s after punk and new wave changed all the rules, and after that thing called MTV forced artists to adapt and think of new ways to showcase/present themselves. Chris Squire, Trevor Rabin and Jon Anderson proved they were up to such daunting challenges, and delivered something fresh, sassy, melodic and -gulp – even danceable. WTF? And yeah, Squire’s awesome bass playing still shone through, albeit in a wildly new context.


Squire had a pleasant voice, high and slightly reedy, and it blended amazingly well with the even higher-voiced Jon Anderson. Those stellar Yes harmonies were generally the result of the tightness of Anderson and Squire’s vocals offset in an interesting way by the lower, edgier voice of Steve Howe. Subsequent band members changed things a bit, of course, but most Yes classics feature this threesome. Squire’s lone solo album, FISH OUT OF WATER, has some wonderful singing from him and a fresh showcase of his songwriting and arranging talents. “Hold Out Your Hand” is a catchy single, and “Safe” has moments of epic, soulful beauty and more lumbering bass from the master.


Mabel Greer's Toyshop

You could be forgiven for not immediately knowing who Mabel Greer’s Toyshop are. That name has not exactly been pervasive in the music press. However, hardcore fans of the legendary progressive rock ensemble Yes will recognize MGT (whom we will sometimes also refer to as just “Mabel,” as fans are starting to do) as the place Yes came from, a long, long time ago. Yes indeed, way back in 1966, founding members Robert Hagger and Clive Bayley, together with original Yes-men Peter Banks and Chris Squire, were starting to make music as MGT, something pop oriented and even a little folksy. Then, that Jon Anderson fellow had to come along and start having long, late night talks with Chris Squire, and everything got messed up. Depending on how you look at it, of course. MGT did not continue as an active entity, although material had been written and performed at the time. So, it’s more than a little unexpected that, 45 years later, they have a new album called NEW WAY OF LIFE due out, featuring Hagger and Bayley, along with Yes alumnae Tony Kaye and Billy Sherwood, and bassist Hugo Barre as the main newbie. The album succeeds in not only being eminently listenable, but in setting itself far apart from Yes-pectations (a word that might as well be officially used to describe the always-changing state of Yes fanship through the years and the rotating lineups). Such tunes as “Get Yourself Together,” “Images of You and Me,” “Singing To Your Heart” and the melodic title track are muscular, well-conceived tracks that feature pleasant harmonies, energetic playing and a joyful spirit that is almost celebratory in nature. After all this time, the band probably knew that full surrender was the best way to go with a project that has taken so long to be realized. One thing that is a bit surprising with regard to Yes is that two songs on the first Yes album, “Beyond and Before” and “Sweetness” have been totally redone here. We’ll let the band explain how that came about in the following interview, conducted via email.

Whatever preconceived notions that listeners bring to this project, it’s fair to say that if you set those aside and just listen, you’ll hear some classic old-school British rock that is influenced by its prog roots to an extent, but also straightforward in its desire to showcase the melodies and tight musicianship of this new-old ensemble, with nothing pretentious or self-indulgent to mar the result. There are a couple of instrumentals, and a few tunes that probably won’t set the world on fire, but this is just pleasant, well-crafted rock with hints of nostalgia that should make most listeners smile. Mabel Greer’s Toyshop clearly had a barrel of fun with this album, and it’s an easy bet that they will keep it going. They are doing exactly what they want to do, and the intimidating musical legacy that they’ve come from, while echoed here and there, does not straightjacket this new record in any way. It’s an admirable feat they’ve accomplished, one that is a bit unprecedented in the annals of progressive music. There were many questions worth asking the band, but the following interview tells a great deal about their unusual journey to this point:

Mabel Greer's Toyshop, 1967 (Robert Hagger, Peter Banks, Clive Bayley, Chris Squire) (photo credit: ROWAN BULMER)
Mabel Greer’s Toyshop, 1967 (Robert Hagger, Peter Banks, Clive Bayley, Chris Squire) (photo credit: ROWAN BULMER)

THE MULE: Although it’s not unprecedented for a group that was better known as the earliest incarnation of a more prominent group to “reunite” and release new music, it’s also not common. How did this project ultimately come about?

ROBERT HAGGER: Ironically, I think it may have been the death of Peter Banks that was a catalyst. On March 15, 2013, I was on a flight from Dubai to Johannesburg and read in a newspaper that “Peter Banks, former lead guitarist with Yes and Mabel Greer’s Toyshop, died on March 7 from heart failure at the age of 65.” THE (London) TIMES dedicated three-quarters of a page to the story. Mabel Greer’s Toyshop was mentioned in the article, although inaccurately reporting that, “the band was formed by Banks and Chris Squire.” In reality, Clive and I asked Chris to join following my audition with the band, the Syn. Chris then invited Peter and Jon Anderson to join us. Peter made a huge contribution to what we were doing at the time. I started swapping emails with Clive and we agreed to meet up in July in France at the Le Petit Maison in Nice, a restaurant opposite the opera house. It’s a surreal experience to meet someone again after 45 years! We had a lot to talk about and during the meal he blurts it out, “we should reform Mabel Greer’s Toyshop.” We all fall about laughing, but it hits a nerve, and we agreed to book some studio time in August.

CLIVE BAYLEY: Mabel was always “unfinished business” for both of us; we thought the music deserved to be carried through to a larger audience.

Mabel Greer's Toyshop becomes Yes (Peter Banks, Tony Kaye, Chris Squire, Bill Bruford, Jon Anderson) (uncredited photo)
Mabel Greer’s Toyshop becomes Yes (Peter Banks, Tony Kaye, Chris Squire, Bill Bruford, Jon Anderson) (uncredited photo)

THE MULE: Most hardcore Yes fans will likely know of you guys, but perhaps not the prog audience at large. What would you say distinguishes the current musical style you’re creating from the 60s incarnation of the band?

CLIVE: Back in the 60’s our style was likened to a crossover of Pink Floyd and the Byrds; strong melody lines and good harmonies, albeit a little more classic rock oriented (as was carried over to the Yes incarnation). If anything, the Mabel melody lines are perhaps even stronger and heavier now and include 45 years of influences from far and wide.

THE MULE: It was a bit of a surprise to hear the tracks “Beyond and Before” and “Sweetness” redone on this record, as those tracks were on the first Yes album and heavily featured Jon Anderson. What made you decide to record those songs, and are you concerned at all that your take on them will suffer by comparison to Anderson’s distinctive style?

ROBERT: “Beyond and Before” was always the Mabel opening piece at gigs, even before Jon Anderson joined us. The song, written by Clive and Chris Squire, is part of our history, we couldn’t possibly leave it out.

CLIVE: Jon is a great singer, and we all enjoy the Yes version… but, we wanted to do the melody lines more like the original Mabel version. Regarding “Sweetness,” which I co-wrote with Jon and Chris… again, Jon’s version is great, but my voice is an octave lower and a different style. The interesting thing about the Mabel version of “Sweetness” is the lead guitar running through the song in counterpoint which twists it into another style, I think.

Mabel Greer's Toyshop rehearsa, circa 2013 (Annouchka Bayley, Alex Keren Robert Hagger, Clive Bayley, Hugo Barre) (uncredited photo)
Mabel Greer’s Toyshop rehearsa, circa 2013 (Annouchka Bayley, Alex Keren Robert Hagger, Clive Bayley, Hugo Barre) (uncredited photo)

THE MULE: Talk about your compositional process a little: How did tracks such as “Get Yourself Together” and “Images of You and Me” originate and develop into the arrangements we hear? Then elsewhere, you have tracks that are mostly instrumental such as “King and Country” and “Oceans”… how are aesthetic decisions like that made? Does everyone have to agree on the elements of a song, or do a couple of you get to pretty much determine the direction of a tune?

CLIVE: I think songwriting and arranging really is my thing. So in a lot of the arrangements I was trying to create a fuller, more interesting sound than we had achieved on the older material. The new songs just kind of fell into place. On “New Way of Life,” Billy altered the bass line from what we had originally and this seemed to change the style of the song quite a bit. He just did it, we all liked it, so we kept it. Billy’s style worked well as he intuitively caught where the European part of the band were coming from… great job from both him and Tony Kaye.

ROBERT: “Get Yourself Together” and “Images” were, again, written back in 1967. When we went back in the studio to record them we did it from memory, which was an interesting experience in itself. It’s important to note that the only rehearsal we had was to play the numbers through once or twice and then lay down the tracks. There are advantages and disadvantages in doing it this way. We sacrificed some quality to retain the vibe and energy.

Mabel Greer's Toyshop's Clive Bayley, circa 2013 (uncredited photo)
Mabel Greer’s Toyshop’s Clive Bayley, circa 2013 (uncredited photo)

THE MULE: “Oceans” makes it pretty clear that you guys are comfortable with long instrumental passages and “painterly” style soundscapes. Might you consider doing an all-instrumental recording someday?

CLIVE: The music piece determines if vocals are required… alternatively, if a strong melody line is created then the backing can be hard rock or delicate, it just kind of evolves. Yes, I would like to do an instrumental with strings and a choir sort of thing, but I suspect a melody line will creep in somewhere as a vocal. I do like Rock Opera, music telling a story. I wrote an album called KING AND COUNTRY, (which has) not yet been released, that does this. Strangely, it was based on TESTAMENT OF YOUTH, which is now about to be released as a major movie. I would like to re-record this album or update it at some point in time.

THE MULE: Clive and Robert, what was it like revisiting something you did so long ago? Were you at all concerned about being in the shadow of Yes as you embarked on this project?

CLIVE: I don’t want to emulate Yes, they are a wonderful band and they are Yes. However, you can detect where some of the Yes sound came from, and with a little imagination, you have a different take on where it could have gone if we had remained involved. I don’t rate myself as a great guitarist like Steve Howe or Peter Banks… but, I think I can write and arrange some nice sounds, and want to share that.

ROBERT: When Clive and I formed Mabel back in 1966, we knew we had something special. Even at the age of 16, Clive was writing stuff like “Beyond and Before” and “Jeanetta,” still one of my all-time favourites and also included on the new album. There is no question of being in the shadow of another band, we are just making our offering and if a few people enjoy it, then we will be happy.

Mabel Greer's Toyshop's Tony Kaye and Billy Sherwood (uncredited photo)
Mabel Greer’s Toyshop’s Tony Kaye and Billy Sherwood (uncredited photo)

THE MULE: Tony Kaye and Billy Sherwood are in the unique position of having played with later versions of Yes; in fact, Tony played in early AND later incarnations. Would love it if you guys could share your insights into what it was like during your particular eras with Yes, and how those experiences influenced you for this new MGT project. Do you still have contact with Chris Squire, any of you? Has he heard the new work?

BILLY SHERWOOD: I was lucky enough to tour with the 90125 (Yes) lineup in 1995, for their TALK record, after that, the band reverted back to the classic lineup as it’s known, with Howe and Wakeman. I was called in to produce/mix for that lineup during the KEYS TO ASCENSION sessions. After that phase, they broke up and it was at that point that Squire and myself began writing and sending tracks around to Anderson, who got involved in this new writing wave… which became the OPEN YOUR EYES record. This is when I joined as a full member, touring that record and the following record THE LADDER. This would be the third Yes lineup I had the pleasure to play with. I left the band in 2000 to go back into the studio production world, making many records, some of which included various Yes members… (THE PROG COLLECTIVE 1 and 2, the Fusion Syndicate, William Shatners PONDER THE MYSTERY among other records). As a result of my ongoing relationship with Yes, I was asked to come in and mix their most recent studio record, HEAVEN AND EARTH, as well as their live DVD from Bristol called LIKE IT IS. I am currently just starting to mix another Live Yes DVD from Mesa, Arizona… Regarding Mabel Greer’s Toyshop, it was a part of Yes history in that the early seeds of Yes were housed within that band in many ways. When I was asked to come on board to make their new record, it was an honor. As a Yes fan, knowing the backstory of where it all began, I felt it was something special to be involved with such history by pushing it forward into the future. I really enjoyed playing on the record and producing/mixing, it was a labour of love indeed!

(Tony Kaye was also part of the Mabel Greer’s Toyshop/Yes transition in June to August 1968 in London, and was of course the keyboard player on the versions of “Beyond and Before” and “Sweetness’ that featured on the first Yes album. Tony was very pleased to be involved in the revival album with Clive and Bob, and enjoyed playing the old material again. He has also been working with Billy Sherwood on their joint-project and new album with the band Circa… Tony was not available for this interview).

THE MULE: You are billed as an “English psychedelic rock band” on your web site. What does the term “psychedelic” mean to you. Has audience perception of that word changed since the 60s?

ROBERT: We used the term “psychedelic” with the meaning “mind-revealing” in that the music was designed to change the state of the listener’s mind by sound effects and reverberation. As an example, just listen to some of the intros and specifically to the track “Oceans” on the new album.

CLIVE: Yes, audience perception of “psychedelic” has changed. We were dressed differently then, and when we started out it was the pre-Flower Power era. The 60s were a great time of peaceful protest and desire to change the establishment, too. Bob Dylan, Jimi Hendrix, we were all breaking new ground. I think we tend to use the term “psychedelic” loosely… it could encompass a protest movement, new way of life, breakout… But, using the word “psychedelic” also brings back images of that era where all these things were going on.

THE MULE: Talking about this area a little more, progressive rock sort of had its heyday in the 70s with groups like Yes, Genesis, King Crimson and Pink Floyd. Then it fell out of favor for many years, partially due to punk and new wave, but a new crop of bands like Porcupine Tree, Spock’s Beard and many more proved that prog rock still had a massive audience in the 90s and beyond. What do you guys see as the importance and appeal of prog rock? Do you see yourselves fitting into that realm, even though some of the tracks on your new record are essentially straightforward pop songs?

CLIVE: I think we are flexible enough to try different styles. The title track, dare I say, is more country and western than prog rock. A bit like the last Muse album where they introduced some R&B tunes, that shocked a few people. We like to experiment a lot, which again, is that psychedelic label, but it doesn’t ALL have to sound like Flower Power… if that makes sense?

Mabel Greer's Toyshop's Robert Hagger, circa 2013 (uncredited photo)
Mabel Greer’s Toyshop’s Robert Hagger, circa 2013 (uncredited photo)

THE MULE: Does it affect groups like you that made your first mark in a very different musical era, that the technology and distribution systems have changed so much? Do you think music has been devalued by mp3s and the like, or is it just the inevitable change that musicians have to adapt to? How do you personally see the music business these days?

CLIVE: Well, Bob and I are getting back in so we are seeing the music business in a new light after a long gap. It clearly has changed. I think we all have to constantly adapt quickly as the world is speeding up now and more and more will change. Go with the flow but keep your integrity and create what you believe in.

ROBERT: In the old days, musicians could not rely on record sales to make a living, they had to go out and play in front of an audience. Funny that today is the same…

THE MULE: For those who don’t know, what is the origin of the band’s name? Was there ever any thought about going out under a different name when you got together again?

ROBERT: Back in the 60s, interesting, way-out names were the way to go: Big Brother and the Holding Company, Jefferson Airplane, Crazy World of Arthur Brown, et cetera. So we became Mabel Greer’s Toyshop. This whole project was about reviving the vibes that we had going in the beginning, so it would have been counter-productive to rename the band, although it seems that everybody now refers to it as just plain “Mabel… ”

THE MULE: What are your biggest hopes as you launch into this new phase of the band’s career? Will you be touring a lot? Will you be doing other early Yes songs besides the ones on the record? And do you think there will be more albums down the road?

CLIVE: No, I don’t think we will do any Yes songs. We will do some showcase gigs and see what happens. I am definitely arranging the next album soon; we already have a lot of new songs for it. And I want to do that Rock Opera thing or themed album. We are happy to do a new album every year if the audience likes it. Constantly trying to create exciting music, whatever shape it takes. Let’s see where this “NEW WAY OF LIFE” takes Mabel after March 9…

Album cover

NEW WAY OF LIFE will be released as a digital download and CD on March 9, 2015 by RSK Entertainment. For more information, visit the band’s website at