(A heartfelt goodbye by KEVIN RENICK)
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.
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.
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…
FIVE NOTABLE CHRIS SQUIRE PERFORMANCES:
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.
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.
A FINAL NOTE:
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.