Mua ei ole koskaan yksikään basisti niin inspiroinut kuin Chris Squire. Tämä on yhden aikakauden loppu. Ja olen suruissani. Meinaan tehdä Squiren kunniaksi biisin.

Hienoa! Kerroppa sitten kun biisi on kuultavissa. :)

Mulla on nykyään Sanden kanssa duo, josta enemmän myöhemmin. Myös Polyblockia luvassa!

Very sad to hear of the passing of Chris Squire, bass player of the progressive rock band YES, today.

Chris was a truly unique bass player. The word ?unique' is used a lot, these days, of course, but in Chris?s case, it?s undisputable. His bass playing style was a million miles away from the low-pitched thud of most bassists of the time. His bass guitar was wired up to make an incisive full-frequency range ?clank? that had the presence of an orchestra when he played on his own. Blended into the intricacies of the arrangements in his band?s music, it formed a massively strong backbone in both rhythm and pitch. As young musicians, we boys in Queen were huge fans of Yes. We had a loose connection with them, since Freddie had worked in Kensington Market alongside Tony Kaye, their original keyboard player. We regularly saw Yes playing around London in their very early days - when they were still playing covers, - among them a very impressive version of ?Something?s Coming? from West Side Story. In these early days they were learning their harmony skills which later emerged strongly in their own compositions ? like 'I?ve Seen All Good People', etc.

Chris was a founder member of the band along with singer Jon Anderson, and was a major writer and arranger as well as bassist. I saw the band many times all through their very convoluted history, but one early impression stick in my mind. I was on the Entertainments Committee of my college - Imperial College - and we booked them to play in our Great Hall just after they?d returned from a tour in the USA supporting Iron Butterfly. We were around in the hall when Yes were doing their sound check. At each side of the stage were the speakers of their PA ? their amplification system. Now in those days, PA?s were usually made from a valve amplifier putting out about 200 watts in power (compare that with modern systems which pump out hundreds of thousands of watts). The amp would feed small cabinets which held some conventional loudspeakers - the kind that people had in their home radios and record players. The Yes system was shockingly different. It comprised massive square black boxes (known as ?Bins? - for the low frequencies) and large metal fan-shaped devices sitting on top (known as ?Horns?). Our aws dropped. We?d never seen anything like it. We asked them later how this came about and they told us that this was the Iron Butterfly system, designed to put across one of the loudest bands in the world at that time. For Yes, it was not so much about being loud, as being clear. To put across multi-part harmonies on top of a loud rock band required a lot of spare power, or all that would come out would be distortion, since you were trying to make those delicate harmonies compete with the sound coming out of loud guitars and drums actually on stage, in the ?back line?. For us this was vital information. We, as Queen, were planning to do exactly that ? make vocal harmonies sit on top of a band sound that was going to be louder and more ?heavy? in content than Yes?s. So if this new kind of system worked, this was what we wanted. Of course there was one small snag ? we had no money !!

But was all this sophistication going to solve every problem ? Chris Squire strolled on to the stage and picked up his already plugged-in Rickenbacker bass, and turned it up to do the check. But before he played a note, he frowned and said, in what seemed like a shocked tone (and the implication that this was in no way his problem): ?There?s a buzz !? Immediately three or four guys rushed on from the wings and scurried around looking equally concerned.

Now to us, at the time, being beginners with no money and no gear, this seemed incredibly grand ! Couldn?t he sort out his own buzz ? What was this world where other people turned on your amp and plugged you in ? But as time went on, we realised this is more a matter of focus. As a performer you try to optimise your efforts as regards performing. You actually can?t do that if you?re worrying about the technical side of things as well. You pay other folks good money to do that ? and if you don?t, you?re actually putting someone out of a job ! The whole touring team thing depends on everyone being a specialist in what they do, and that?s how you achieve excellence. It?s just one of the lessons we, Queen, learned from YES, and, very specially, the amazing and truly unique Chris Squire. I should probably mention that as a player he was a virtuoso; I think just about every bass player I know would confirm that view.

May he rest in peace and happiness, knowing he played a great part in changing Rock for ever.

Sincere condolences to his family and friends, and the guys he pioneered wondrous harmony progressive faerie-inspired Rock with.

Squire. I shall remember him fondly; one of the twin rocks upon which Yes was founded and, I believe, the only member to have been present and correct, Rickenbacker at the ready, on every tour. He and I had a working relationship built around our differences. Despite, or perhaps because of, the old chestnut about creative tension, it seemed, strangely, to work.
He had an approach that contrasted sharply with the somewhat monotonic, immobile bass parts of today. His lines were important; counter-melodic structural components that you were as likely to go away humming as the top line melody; little stand-alone works of art in themselves. Whenever I think of him, which is not infrequently, I think of the over-driven fuzz of the sinewy staccato hits in Close to the Edge (6?04? and on) or a couple of minutes later where he sounds like a tuba (8?.00?). While he may have taken a while to arrive at the finished article, it was always worth waiting for. And then he would sing a different part on top.
An individualist in an age when it was possible to establish individuality, Chris fearlessly staked out a whole protectorate of bass playing in which he was lord and master. I suspect he knew not only that he gave millions of people pleasure with his music, but also that he was fortunate to be able to do so. I offer sincere condolences to his family.
Adios, partner. Bill.

Chris was a very special part of my life; we were musical brothers. He was an amazingly unique bass player - very poetic - and had a wonderful knowledge of harmony. We met at a certain time when music was very open, and I feel blessed to have created some wonderful, adventurous, music with him. Chris had such a great sense of humor... he always said he was Darth Vader to my Obiwan. I always thought of him as Christopher Robin to my Winnie the Pooh.

We travelled a road less travelled and I'm so thankful that he climbed the musical mountains with me. Throughout everything, he was still my brother, and I'm so glad we were able to reconnect recently. I saw him in my meditation last night, and he was radiant. My heart goes out to his family and loved ones.

Love and light.....Jon

I am devastated by the news of Chris Squire's passing. A special pal and a man who defined the progressive genre. Open to all styles with a love of orchestras and choirs as well as thunderous rock, his passing leaves a huge hole in the heart of music. His ingenious sound was unique. Farewell my friend. I loved making the Squackett album with you and all the other projects we worked on together, including your recent work with me on Love Song to a Vampire... It feels like only yesterday. Thank you for all the good times. Saying you will be missed is a complete understatement, and my heart goes out to Scotty and all your family.
Warmest wishes to all,
Steve

Last night, with some old friends in distant places, I shared a conference call and toast to the memory of the great bassist Chris Squire. We discussed how we?d been deeply influenced by his music, we shared stories, favorite concerts and songs - and even realized that in a convoluted way we had only met each other, back in the early 80?s, because of Chris. He re-wrote the rules of playing bass lines, he gave his instrument a voice uniquely his, and he touched many of us with his music. What more can you aspire to.

I have so many wonderful memories of working with Chris and many of those in recent years. We once spent an entire journey after a gig trying to remember all the lyrics to "my ol man's a dustman" - we eventually gave up on that one! I'll miss seeing him looking across the stage - a wink here and a wink there with that Mephistophelean grin particularly if something had gone slightly awry. He was a legendary bassist, loveable funny guy both on and off the stage. He took bass guitar to another level and inspired thousands of others, the undisputed king of the 4 strings. Many will cite Chris as the reason why they picked up the instrument in the first place. We became close over the last few years, and spent a lot of time together socially as well as on the tours. He was always greatly entertaining with his countless tales of rock and roll, and his own personal spin on life. Despite his imposing figure, he had a really soft, gentle and charitable side. Always magnanimous to band, crew and fans alike. Although essentially captain of the YES ship he displayed very much a laissez-faire attitude towards the band and a nonchalance to life in general. I am eternally grateful that he was a great advocate of my playing and encouraged my own musical contributions. I learnt an enormous amount and gained great confidence from his support. Many of the funny stories were from airports. His lateness was famous. Back on the Drama tour, we had a private jet and suitcases were always collected early from outside hotel room. Chris had somehow packed his trousers and shirt, turned up at the airport and got on the plane wearing just a long jacket and underpants. "Sorry I'm late" he said, without the slightest hint anything was untoward. Another time we were all waiting to go on stage and - no Chris. Thus followed a panic to find out where he was. He had apparently fallen asleep in the bath and had to get the fire marshall to break down his hotel room door. We ended up taking the stage an hour late, with Chris arriving asking "is there a problem"? But one thing for sure is that he always delivered. The stage was his world. His attention to the minutest details of the music was immense - you certainly couldn't get away with playing the wrong inversions of the chords anywhere, or anything out of line. He would come over with his inimitable casual fashion and point out ?that?s not quite right?. As a person he loved life to the full - a glass of wine, fine food, tennis, motor racing, and an enthusiast for everything musical. His thunderous bass rig with the sub Taurus pedals rattling the stages was legendary - the ?wall of doom' as it was known housing some 30 speakers dominating an entire side of the stage. He was one of the few bassists who had the audacity to pick up a triple-necked instrument without the slightest hint of irony, and, probably the only one who could actually play the bloody thing! A musician?s musician. A genius. I'm going to miss him greatly.

I knew, like many of us, that Chris was seriously ill with a rare form of leukaemia, but had heard the encouraging news that he was responding well to treatment and so felt optimistic that with treatment, love and prayer, he would beat it. Ironically I wrote to Paul Silveira, (the manager of YES), on Friday evening to enquire how Chris was and heard the desperately sad news yesterday. The phone has not stopped ringing and my inbox is overflowing with tributes from so many people which simply shows the effect that his contribution to music made to so many of us, musicians and fans alike.

We have now lost, who for me, are the two greatest bass players classic rock has ever known. John Entwistle and now Chris. There can hardly be a bass player worth his salt who hasn?t been influenced by one or both of these great players.

Chris took the art of making a bass guitar into a lead instrument to another stratosphere and coupled with his showmanship and concern for every single note he played, made him something special.

Although Chris is no longer with us in human form, his music has not gone with him and that will be around long after all who read this will also have departed this mortal coil. That?s the great gift of music. That gift can be passed on with what has been created and so Chris will always live on.

I, like all of you, send my heartfelt condolences to all Chris?s extended family and may there be some solace for them in knowing the impact he had on so many of us.

Chris?s passing, truly marks the end of an era.

Rick Wakeman
28th June 2015

"Squire oli Yesin ainoa soittaja, ja oli mukana jokaisella yhtyeen 21. studioalbumilla vuosien 1969 ja 2014 välillä."

Having just arrived back from Peru today, Jo and I heard the terrible news about Chris Squire. We were travelling back via Madrid when we heard of his passing. I feel I've lost a brother...

Jo and I spent masses of time with Chris and his wife Scotland (Scotty to pals) sharing music and stories of the road, mutual friends, many laughs and so much more...

I can't believe a powerhouse like Chris can be snuffed out like a candle and I believe he's now in spirit where we will all survive once we finally get our promotion! (I didn't call that one time album 'Spectral Mornings' for nothing) Just a reflection or two regarding my pal... As well as our Squackett album which we enjoyed creating so much together, in recent times, Chris joined my band along with John Wetton for a seafaring version of 'All Along the Watchtower' on the last Cruise to the Edge, and he also played bass on Love Song to a Vampire on my album 'Wolflight'. When I was going through a difficult time in my personal life with the divorce a few years back, Chris was a great support. We worked on a number of projects, egging each other on and on. Whenever we were playing or singing together he approached it with all the enthusiasm of a kid in a shiny new toy shop. As the music took hold of him, he seemed to transform and roll with every note and fibre of his being. He was fully engaged with the process of turning musical notes into magic with his extraordinary ability. He was the powerhouse that drove Yes through many campaigns. They reinvented themselves through practically every album. I think like Nelson undaunted Chris was a man who saw no obstacles... He saw no ships... Only opportunities to succeed in the most positive manner. Yes was a band aptly named.

Chris, you've left a stunning legacy for us all to admire for eternity. Your work is an inspiration for legions of musicians and followers. A huge influence on so many, including a little band that followed in your footsteps called Genesis...What a privilege to have listened to you on stage, a thrill to have worked with you and to have shared such sweet times. Chris was the king of the bass, a great band leader with a huge positive personality.

Our hearts go out to wife Scotty, daughter Xilan and all his family.

Although I still feel too sad to write this, I feel like I need to put something down in the hope it will focus my mind on the matter and give me some where to go with the passing of Chris Squire. Put simply he is the reason I chose to become a career musician. At the age of fifteen I remember thinking to myself, while listening to Yes; "Now that's something I would love to do." Chris' tone and techniques have inspired a might army of axe welding maestros over the years and music has lost a champion now he is gone. I was grateful to have known him and played with him briefly. If the youth of the world are to find a happy professional future they need more people like him to inspire and set them on a higher path, with a sense purpose. I'm grateful to him for giving me that. Thank you Chris. May your CLANG resonate throughout all eternity!!

I knew, like many of us, that Chris was seriously ill with a rare form of leukaemia, but had heard the encouraging news that he was responding well to treatment and so felt optimistic that with treatment, love and prayer, he would beat it. Ironically I wrote to Paul Silveira, (the manager of YES), on Friday evening to enquire how Chris was and heard the desperately sad news yesterday. The phone has not stopped ringing and my inbox is overflowing with tributes from so many people which simply shows the effect that his contribution to music made to so many of us, musicians and fans alike.

We have now lost, who for me, are the two greatest bass players classic rock has ever known. John Entwistle and now Chris. There can hardly be a bass player worth his salt who hasn?t been influenced by one or both of these great players.

Chris took the art of making a bass guitar into a lead instrument to another stratosphere and coupled with his showmanship and concern for every single note he played, made him something special.

Although Chris is no longer with us in human form, his music has not gone with him and that will be around long after all who read this will also have departed this mortal coil. That?s the great gift of music. That gift can be passed on with what has been created and so Chris will always live on.

I, like all of you, send my heartfelt condolences to all Chris?s extended family and may there be some solace for them in knowing the impact he had on so many of us.

Chris?s passing, truly marks the end of an era.

Rick Wakeman
28th June 2015

I am very saddened to hear about the recent passing of my old and respected friend Chris Squire. Chris was a decent and loving person, not to mention a great musician, bass player and singer.
What most people are not aware of is that Chris and I shared an apartment together in London during the early nineteen seventies and as a consequence became very close friends.
I will definitely miss him.
Best
Greg Lake.

The news of Chris?s passing is very sad.

He was a special friend and a phenomenal musician, always eager to go beyond the outreaches of creativity.

During my years as a member of Yes and even outside of the band, strongly embedded in my memory, are some of the extraordinary sessions we used to have together; like an ?empathy of minds and souls? jamming together to the rhythms of frequencies, all distances abbreviated by the pure spontaneity of spirits roaming freely, all barriers seemingly abolished!

My deepest heartfelt thoughts and condolences go out to Chris?s Family and loved ones.

Rock on, Chris!

Patrick

One evening many years ago, I was in a friends car and he had just bought the new Yes album "Fragile". The song "Long Distance Runaround" was playing. I was stunned at first. I didn't really know what to think. Do I like it? I think so ... play it again. This bass guitar was not politely thumping along in the sub sonic world where it belonged. It was aggressively in my face demanding me to listen and I better f***ing like it. My narrow thought about bass guitar and it's proper placement in rock music was changed forever in that instant. Thank you Chris Squire. You're playing didn't just change my thought, it changed the music world. RIP ...

The blues-rock guitar maestro on the harmonic convergence of Yes?s Chris Squire.
?My prog-rock hero comes from my dad. The first guy that my father singled out and said, ?Listen to this guy play,? was Chris Squire. We listened to Yessongs over and over again, which was a live recording.
?I?m a big Steve Howe fan, but I always found myself more drawn to the bassline. It was the first time I?d ever really noticed the power of a bass guitar to do things such as switch up the harmonic content of the music by dropping the root of third.
?You have to listen to Heart Of The Sunrise on Yessongs because of how he cascades down against the ascending sound of that riff. You have to listen to the 10-minute version of Starship Trooper on Yessongs when they go into that piece of music called Würm. Chris takes three simple chords and makes it almost symphonic. He?s creating so much tension and release within these simple chords while Rick Wakeman or Steve Howe are soloing.
?That?s really the definition of progressive; you?re not just playing roots and fifths. Steve Howe is a hybrid of jazz and Chet Atkins and he plays with a clean sound, so the heaviness of those riffs is done by that crunchy Rickenbacker bass.
?A couple of years ago, my bass player Carmine Rojas and I went to see Yes at the Universal Amphitheatre in Los Angeles. I found myself once again fixated on Chris Squire. I was saying, ?I can?t believe how he?s making different chords underneath all this music with this fantastic bass sound ? and singing a middle harmony at the same time that?s different from the bass harmony!?
?I?ve met Chris several times. The first time was when I played Shepherd?s Bush Empire a couple of years ago. I was backstage, and all of a sudden the big guy shows up with a guy who?s not so big. I?m introduced to Chris Squire and Steve Hackett. I went, ?Holy shit! I used to do Würm and I used to do Los Endos.?
?At that point, we were playing some of Starship Trooper and Chris couldn?t believe it. I rang my father and said, ?Dad, you?d never believe who came to my show!?