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!”
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.”
Completing Prog’s rundown of Chris Squire’s 30 greatest musical moments, as chosen by the late bassist’s bandmates, collaborators and fans
Onward
Yes – Tormato, 1978
Geoff Downes, Yes, DBA: “We played this song live in Chris’ memory on the tour after his passing. It was a poignant tribute to him – he wrote it, and reckoned it was probably the best song he’d ever written. As the main lights dimmed there was a solitary white Rickenbacker bass – like the one made famous by Chris – illuminated on a stand as the sombre descending bass sequence began.
“It features a stunning orchestral arrangement with arco strings and French horns. While it has a lento feel, it’s essentially a beautiful love song. The concept behind it is one of positivity – it lays out the sentiment that life moves onward and upward. A most fitting tribute to the great man himself.”
Into The Lens
Yes – Drama, 1980
Leoni Jane Kennedy, Solstice, The Anchoress: “I was in my childhood bedroom jamming along to Drama having just been gifted my Mania bass, which had a gorgeously thin neck, after playing a Benson P-style bass with an action from Hell.
“Getting past the first three tracks took hours, because Machine Messiah had me headbanging for my life. When I eventually got to Into The Lens and its opening odd time signature and individual bass notes, with the drums playing the quadruplets in response – my God, was I invested! I just thought it was total sonic genius.
“It was one of the first times I spent hours trying to achieve triplets playing fingerstyle bass, aside from attempting YYZ by Rush. I just about got away with both, but it’s a core memory for my right hand! Chris Squire was such an intuitive player; his tone was so influential for me.”
Tempus Fugit
Yes – Drama, 1980
Andy Hodge, DBA: “Chris was a thing of wonder to my ears with the immaculate Run With The Fox, and soon after hearing it I fell for the charms of Drama. Tempus Fugit was a shock, hitting me squarely in the face: powerfully hypnotic, mesmeric in its repetition; it rocked my world!
“It has an all-time classic bass riff, played with ultimate precision and fluidity, unerring in its steamroller groove, performed seemingly effortlessly by a rock god. The track appeals to my core principles of hard-rocking riffs and hook-based songs.
“There’s a complex bass riff at its heart; but the bass line manages to bring both the rock and the hook. It’s as impressive as any solo but still serves the song in a truly magnificent way; a balancing act only a true genius could pull off.”
Run With The Fox
Chris Squire – Run With The Fox, 1981
Michael Whiteman, I Am The Manic Whale: “I don’t remember Run With The Fox being on the Christmas compilations we listened to growing up, and it never seems to have had quite the exposure of other Christmas songs, like Greg Lake’s I Believe In Father Christmas.
“I discovered it when my children were very little, and it quickly became a firm favourite in our household. My son likes to wake me up by playing it loud early on December 1 to mark the start of Advent. One year he dressed up like a fox for the occasion!
“When I Am The Manic Whale recorded it, we changed the arrangement; there are some subtle differences and some more obvious differences, like the big guitar solo. It’s a joyous, fun and energetic song that on the surface sounds quite pop-rock orientated – but there’s a lot more to it.”
Owner Of A Lonely Heart
Yes – 90125, 1983
Troy Sanders, Mastodon: “Owner Of A Lonely Heart reached massive mainstream success with heavy rotation on MTV. As a young fanatic of all genres of music videos, it was my first exposure to Yes, which began an unexpected and magical journey into their back catalogue, their complex musical prowess and Chris’ undeniable talents.
“He proves that simplicity can bring a greater good to the song. Imagine if he went selfishly wild and did his own thing on the tune? I’d bet there were conflicting emotions as he went to record it, attempting the most basic supporting bass line he had likely ever performed.
“When done right, there’s beauty and strength in simplicity, and I applaud both the approach and outcome. Knowing your role and what’s best for the song is beautiful. Being a great bandmate is understanding that your contribution to a song is bigger than oneself. Owner Of A Lonely Heart is a perfect example. Thank you for the magic, Chris.”
Leave It
Yes – 90125, 1983
Shelby Logan Warne, Kyros, Circuline: “I love how weird Leave It was, especially for an album that felt much more pop-adjacent for Yes. The weird production and use of reverb – gated ’n’ all! – to create a sense of movement and space, along with the clever a capella parts, really tickled my brain. All of it felt grounded by the bass line. That taught me a valuable lesson in restraint for the sake of the bigger picture of the song.
“As I began to experiment with songwriting, piecing together ideas inspired by prog and the detailed production of pop, I learned that, a lot of the time, parts that are simple yet effective make a song. Light and shade to keep everything level. Chris’ playing here sums up his approach for 90125: a real sense of ‘keep it grounded.’”
City Of Love
Yes – 90125, 1983
Charlie Griffiths, Haken: “Around 1991 a friend loaned me his 90125 cassette. I was waiting for a bus on Ealing Broadway, Walkman in pocket, and that music blew my mind! I was pretty much a thrash and death metal-head, but I was looking to expand my knowledge; so I started exploring fusion and prog.
“I immediately loved the clean production and vocal harmonies, and the riffs were straight enough to groove along to – but they had some subtle twists. One of my favourite things in songwriting is having an element of surprise, but without too much of a left turn. I always loved that, on first listen to City Of Love, you assume the bass intro starts on beat 1; but when the drums come in you realise it was beat 2 all along. I try to infuse my music with a similar playfulness.”
The More We Live – Let Go
Yes – Union, 1991
Billy Sherwood, Yes: “This was the very first song Chris and I wrote together – I recall it like it was yesterday. He came to my home studio in LA and played me the keyboard part that makes up the long verses. I started singing the idea for ‘The more we live, the more we love, the more we grow.’ We started recording, developing the song, and we really got into a creative process together. Much to my surprise it became a track on the Union record, for which I’m honoured.
“It’s hard to fathom that it’s some 36 years later and Chris is gone. His memory lives on through his music – there’s so much of it to enjoy.”
