Artista: Chris Squire
Álbum: Fish Out of Water
Género: Rock sinfónico
Género: Rock sinfónico
Lista de Temas:
1. Hold Out Your Hand
2. You By My Side
3. Silently Falling
4. Lucky Seven
5. Safe (Canon Song)
1. Hold Out Your Hand
2. You By My Side
3. Silently Falling
4. Lucky Seven
5. Safe (Canon Song)
- Chris Squire / vocals, bass, 12-string electric guitar
- Andrew Pryce Jackman / acoustic and electric pianos, orchestrations
- Bill Bruford / drums
- Patrick Moraz / organ, bass, synthesiser
- Barry Rose / pipe organ
- Mel Collins / saxophone
- Jimmy Hastings / flute
- Chris Squire / vocals, bass, 12-string electric guitar
- Andrew Pryce Jackman / acoustic and electric pianos, orchestrations
- Bill Bruford / drums
- Patrick Moraz / organ, bass, synthesiser
- Barry Rose / pipe organ
- Mel Collins / saxophone
- Jimmy Hastings / flute
Como ya lo anunciamos, este pasado fin de semana negro dejó la faz de la tierra uno de los mejores bajista de la historia del rock, Christopher Russell Edward Squire, fundador de Yes y el alma de la banda. Sirva este pequeño homenaje dejando este disco que nos comparte Alberto el Mago Bondadoso.
Este es su único disco en solitario lanzado en 1975 y el titulo del disco tiene que ver con el apodo de Chris, apodado "Fish" por Bill Bruford. Un apodo que surgió durante una gira donde inundó su habitación del hotel, por lo que Bruford lo bautizó con el apodo, podría haber sido "Poseidón", pero no, fue "Fish" y de ahí el nombre del disco.
El disco contiene todos los ingredientes para que un amante del progresivo se maraville desde la primera nota: largos desarrollos, cambios de ritmo, ese bajo grueso que surca a lo largo y ancho de toda la obra.
Hola amigos de bloghoy les presento Fish out of Water, el primer álbum como solista de rock progresivo realizado por el músico Chris Squire(bajista de Yes). Fue lanzado en 1975 durante un descanso entre las tareas de su grupo Yes. Bill Bruford, Patrick Moraz(tecladistaen en el disco ralayer) , y otros miembros de Yes en sus diversas encarnaciones contribuyeron en esye disco , mientras que Squire, emplea sus habilidades como instrumentista solista en el bajo, así como el desempeño de todas las guitarras y voces.Eric
Realmente ste Album es una obra maestra. Gracias a Bill Bruford uno de los bateristas de Yes y de King Crimson, y su compañero pianista Patrick Moraz ,este disco se completo con un toque clásico, impecable e innovador y quizá hasta un tanto nostálgico que consolido a Squire como un maestro de la composición.
En este disco predominan el manejo de harmonías y melodías que son impresionantes con alto contenido artístico y con mucha calidez y algo de improvisación.
Todos los temas están ensamblados como una partes sinfonicas y en general esta muy bien logrado.
Como es de esperarse, proyecta un bajo macizo y dominante aunque melodioso y versátil que en cierta manera guía a la banda y llena ademas con maravillosos arreglos orquestales que completan esta gran obra del el gran Squier.
Christopher Russell Edward Squire, en Wembley, Inglaterra, el 4 de marzo de 1948, la principal aparición de Chris Squire a la fama es como el bajista de rock progresivo.
Hay que destacar que este super musico, bajista y fundador de Yes tambien compone y canta muy bien, un elemento que siempre aporta demasiado en lo que hace.
En mi opinion creo que es un disco ecepcional con muy buenos arreglos sinfonicos, y admito que en este disco la convinacion Patrick Moraz - Bill Bruford es muy buena.
Les recomiendo que lo descarguen ya que no es un disco muy conocido pero que tuene muy buena composicion.
Lo que mas me gusta del disco es obviamennte el bajo potente y con mucha presencia de Squire.
Aqui Chris suena impresionante, y además podemos escuchar otros músicos tan brillantes como Bill Bruford, Patrick Moraz y otros miembros de Yes en sus diversas encarnaciones. También tenemos invitados de lujo como el miembro de Caravan, Jimmy Hastings, quien interpreta un esplendido solo de flauta. Asimismo su antiguo compañero en The Syn, la primera banda de Squire, Andrew Jackman, en los teclados,que va alternando esta tarea con Patrick Moraz. A su vez, y más allá de ese monstruoso bajo que todo lo surca, Squire, desempeñó con maestría el trabajo de todas las guitarras y las voces, y es curioso escuchar la semejanza por momentos con la voz de Jon Anderson.
Tras la grabación y posterior gira de Yes con Relayer, el grupo tomó la decisión de que cada uno de sus componentes realizara un trabajo en solitario, (ya sabéis, el manido tema de interesarse por otras áreas musicales diferentes, ampliar campos, y todo eso).F. J. Ramírez
Quien quizás estuviera menos de acuerdo con esta decisión sería Chris Squire, opinión basada en los siguientes hechos:
• El propio título del disco: Fish Out The Water, en el cual lleva implícito el mensaje de estar en una situación en la cual no se está cómodo (Squire siempre ha sido conocido en los ambientes musicales como Fish).
• El sonido de este disco, al contrario que el de todos los demás discos en solitario del resto, es “muy de Yes”, punto del que se hablará mas adelante.
El plantel de músicos utilizado es de impresión:
Chris Squire / vocals, bass, 12-string electric guitar
Andrew Pryce Jackman / acoustic and electric pianos
Bill Bruford / drum
Patrick Moraz / organ, synthesizer
Barry Rose / pipe organ
Mel Collins / saxophone
Jimmy Hastings / flute
Los menos conocidos son Pryce Jackman, arreglista y compositor de la época de The Syn, y Barry Rose a cargo del órgano de iglesia, del resto… ¡que os voy a contar! Además se hizo con los servicios de una orquesta, y todo el disco está escrito, arreglado y producido por el propio Squire.
La aparición de guitarras es muy escasa, toda la música está impulsada y gira alrededor de bajo (orquesta incluida) en su estilo dinámico, melódico y también agresivo, mostrándose además como un magnífico vocalista.
1. Hold Out Your Hand (4:13) – sobre un grandioso órgano de catedral se anuncia el Rickembaker que marca y domina el tema (y el disco) al que se suman los demás instrumentos y la voz (que llega a los niveles de Anderson sin problemas) en una canción con cierta orientación pop, ¡pero puro Yes!, con sus armonías vocales, complejos arreglos y primer plano magistral del bajo. (Por cierto escuchar a Bruford con Squire es otra delicia más).
2. You By My Side (4:59) – Sin interrupción pasamos al segundo tema, de influencia “McCartney” inicialmente para pasar con bajo piano y batería a un ritmo “de vals”, un precioso solo de flauta de Hastings ascendiendo con armonías vocales hasta un nuevo estribillo, todo va en crescendo con órganos, la orquesta…. Precioso y emotivo.
3. Silently Falling (11:26) – Delicioso comienzo con la orquesta destacando flautas y oboe, para que Hasting nos introduzca en la canción bucólica junto a la voz de Squire y su línea de bajo, pasando inmediatamente a una parte mas potente con bajo distorsionado, cuando escuchas las líneas de bajo y la voz en ese momento te preguntas ¿Cuántas veces escuchó esto el señor Sting? Haciéndose mas rápida la canción entrando en un viaje donde el bajo de Squire comienza a atraerlo todo hacia él en la “caída” muy jazzera en un trepidante juego de Moraz, Bruford, Jackman y Squire para quitarse el sombrero, parada y vuelta a la tranquilidad inicial (¡lo que aprendió Sting de aquí!) que va rellenándose con guitarras y la orquesta en una maravillosa canción, en realidad compuesta de varias partes.
4. Lucky Seven (6:54) – Fantástica pieza de Funky/Jazz que comienza con un intrigante piano eléctrico que va a mantenerse todo el tema y permite a Squire llevar el ritmo, hacer solos y desplegar armonías vocales (que en algún momento recuerdan incluso a Marvin Gaye, 4:17 para curiosos) con un Brufod en su salsa haciendo cambios de tempo, y Mel Collins de las suyas con el Saxo, (y solo de soprano al final) aderezado con algún detalle de la orquesta, (de impresión vamos).
5. Safe (Canon Song) (14:56) – El tema mas largo del álbum y donde la orquesta tiene un papel prominente, eso si el bajo por delante. Aquí canta con la orquesta haciéndose coros y segundas voces mostrando toda su maestría como vocalista, además de intérprete, compositor, orquestador en un tema con una primera parte deliciosa, donde su voz llega a los registros “andersonianos” sin problemas, y a partir del minuto 5 asistimos a una fase donde las secciones de la orquesta van repitiendo el tema central, y en realidad lo que ocurre es que Squire con su bajo dirige la orquesta marcando el camino a seguir hasta un grandioso final para luego quedarse solo y marcarse una emotiva despedida con unos singulares sonidos del bajo.
Este disco es en definitiva un brillantísimo trabajo, tanto por parte de Squire como de sus colaboradores, que gusta tanto a la primera escucha como con el tiempo ya que no paras de disfrutar y sorprenderte de sus múltiples matices y ambientes sonoros. Fue escrito y grabado solamente en un par de meses (parece ser que encima Parallels también la escribió en aquel momento) mostrando su talento como compositor, arreglista, interprete y vocalista.
No es un típico disco de músico de grupo en solitario que escoge a un montón de amiguetes del gremio para servirle como vía de escape y realizar un tipo de música que no concuerde con los parámetros sonoros del grupo de donde proviene, sino más bien de reafirmación del mismo.
Además del disfrute de la obra en si misma, tiene una gran importancia por sus repercusiones posteriores, que enumero e intentaré explicar a continuación:
• Muestra a Squire como el cimiento básico del sonido de Yes
No hay mucho que explicar, solo escuchar el disco (el mensaje encubierto de este disco podría ser “yo soy Yes”).
Me estoy imaginando a Squire al terminar el disco sintiéndose satisfecho de haberlo conseguido sin Anderson ni Howe (y encima la aparición de las guitarras es mínima). Supongo que esto podría ser el inicio (junto a posteriores “movimientos”) del affaire posterior que todos conocemos...
• ¿Es el denominado álbum perdido de Yes?
En algún momento ha sido designado así (para marcar el periodo del “año sabático” del grupo con sus trabajos solistas) pero me parece excesiva esta afirmación, quizás derivada del “podría haber sido así”.
Otra cuestión distinta es la que si pudiera entrar en el catálogo de discos de Yes, ya que hay tres de sus componentes (en el caso de ABHW eran cuatro y están considerados como tal) pero en fin…. Personalmente he de decir que aunque es un grandísimo disco en si mismo, si le pones unos gorgoritos de Jon y unos toquecitos del señor Howe estaríamos hablando de otro de los grandes discos setenteros de Yes.
• Muestra el futuro inmediatamente posterior del grupo respecto a sus trabajos
A ver si me explico, tras discos con temas extensos (Close to the Edge, Tales y Relayer) se pasarán a temas mas cortos e incluso “radiables”. Siempre se ha comentado el cambio de formato del Going for the One como una vuelta a conceptos de The Yes Album, pero creo que Fish Out the Water es el ejemplo mas cercano tanto en el tiempo como en la conformación de los temas (los dos presentan 5 temas y el último de 15 minutos).
• Chris Squire es muy “vago”
A pesar de demostrar que por si solo es capaz de realizar grandes cosas, nunca ha vuelto realizar nada parecido. Sus trabajos fuera de Yes como Conspiracy, The Syn etc. son muy posteriores en el tiempo a este trabajo, pero nunca en solitario (excepto un disco de villancicos bajo su nombre). Solo se siente cómodo dentro de “su grupo” y a él se ha dedicado toda su vida.
• Es la última vez que puedes escuchar la conjunción Bruford/Squire
Me estoy refiriendo a que tocan “en condiciones” (que yo conozca), ya que no valoro en esos términos los momentos del Unión y la gira posterior.
• Inicia la colaboración Moraz/Bruford
Es la primera vez que trabajaron juntos y posteriormente realizarían dos discos a dúo: Music for piano & Drums (1983) – Flags (1985).
• El futuro sonido de The Police ya está presente en este disco
Solo tenéis que escuchar atentamente Silently Falling para llegar a la misma conclusión.
Bueno solo me queda deciros que cuando escuchéis el disco a conciencia, volveréis (por lo menos así ocurrió en mi caso) a escuchar a Yes, pero ya de otra manera, la denominada “perspectiva Squire”
Y como siempre, copio los comentarios en inglés que voy encontrando...
Chris Squire's single solo effort is an essential masterpiece. It certainly is not a lost Yes album just merely Squire's exceptional creation which demonstrates his importance in progressive rock and equally his influence in this genre. How can you do a follow up with another solo album with Fish Out of Water being your first?' Silently Falling' and ' Safe' without question the highlights of the album but even the shorter tracks like ' Hold Out Your Hand' and the years ahead of it's time' Lucky Seven' are an aural delight. The bass thumps throughout, there are layers and layers of keyboards and even the brass is so refreshing. A lost Yes album, not but as good as any Yes album, possibly.Chris S.
For those YES fans who have not heard this solo release you are missing out for sure! SQUIRE's first solo release is packed with superb YES-like musicianship. As you would expect the album does concentrate and accentuate the bass guitar side of life, but don't be misled... this album is packed with superb music. In many ways it is my favorite of all the YES solo releases and seems to have a very pure progressive feel to it. Chris is joined on the album by Mel Collins (Sax), Bill Bruford (Drums) and Partick Moraz (keys) to name a few who add some very rich moments to the album. Musically this album moves in and out of many moods and offers nice speaker dynamics. This is really a brilliant recording and the only criticism one could make is the absence of Jon Anderson, but then again you can't em all!!James Unger
Yes-like in every possible aspect, Chris Squire's Fish out of Water is an album that's typical of his band's progressive formula: softened keyboard extensions à la Patrick Moraz, steady yet atmospheric percussion work from Bill Bruford, and a smattering of flute and saxophone that accompanies a small orchestra, which includes effective horn and harp work. Squire's guitar playing is standard, coming to life the most on "Silently Falling" and "Lucky Seven," with the former boosted by a rather dazzling synthesizer solo from Moraz. Even though there are few surprises laid out on the album's five tracks, the elemental composition of pure '70s progressive rock is strewn across each song from start to finish. Squire even sounds like Jon Anderson, especially on "Hold out Your Hand," and each of the song's melodies cater to Squire's vocal ascent. Fish out of Water harbors some firm instrumental and vocal cross-breeding while remaining well within the prog rock norm.Mike DeGagne
By 1975 progressive giants Yes were resting following the release of Relayer, their eighth album in five years. Inveterate workaholics, the five members decided the best way to take it easy was to work on their own solo albums. Discussion amongst fans still rages as to whose was the best (Jon Andersons’ Olias Of Sunhillow being the most cosmic and Steve Howe’s Beginnings being the most technically proficient), but bass player, Christopher Russell Edward Squire’s Fish Out Of Water was the one that pleased most people who’d come to love the band’s mixture of sumptuous vocals and tricky time changes.Chris Jones
The reasons for this are simple: Squire was a founder of the band and had, probably more than any other member, forged the sound that was to make them world-beaters. Vocally similar to Anderson, on Fish… (the title’s a reference to his nickname) he displays his choral background, and love of West Coast harmonising on the paired opening tracks “Hold Out Your Hand/You By My Side”. And while not lyrically as knotty or technically as dazzling as his band’s output, Fish… stands as a consistently fine piece of proggery.
The album boasts an array of top ‘heavy’ names of the time. There are links here to not only his own band (Patrick Moraz on keyboards) but also King Crimson (ex-Yes drummer Bill Bruford, and sax player Mel Collins), the Canterbury scene (Caravan’s Jimmy Hastings, who plays some tasty flute on “You By My Side”) and even Squire’s own psychedelic past (old bandmate from The Syn, Andrew Jackman, on keyboards).
The album veers away from Yes’ then-current fusion tendencies, leaning heavily on lush orchestral arrangements (“Silently Falling”, “Safe (Canon Song)”) though the time signatures still get adequately messed with (7/8 on “Lucky Seven”!). And while Squire’s patent growling Rickenbacker is well up in the mix it never gets in the way of the actual songs. It's this restraint that makes Fish Out Of Water still eminently enjoyable to modern ears: A rare feat in such a genre. Strangely and sadly, Squire would never be tempted to repeat it, instead remaining true to the band he formed in 1968.
All of the Yes members made solo albums as an outlet to the rest of their quite different music than that they were making in that band. So why did Squire do another Yes album? What was he trying to prove? Howe , Andersson, Wakeman did quite different music on their solo carreer and it was not always successful. Squire 's solo is quite fine but was this really necessary. He could've made a jazz-rock album with his bass playing alone. So if you are into Yes, you will love this album (and probably more than half of the albums the group ever released), but was there really a point to the album?Sean Trane
I was waiting for this one to appear on the site... Basically, YES FANS, if you have never heard this album, drop everything you are doing and immediately seek it out, buy it, steal it, just listen to it, before another precious second is wasted! You want the mythical lost Yes album? You got it. This is, without the slightest doubt, the best solo album by any Yes man, and it just so happens to feature Bill Bruford on drums and Patrick Moraz on keys. Of course, this is a "lost Yes album" without Jon and Steve, so don't expect them to be there! This is the Chris Squire show, and the way he handles the complete writing and singing duties is simply amazing, proving just how integral he was to the whole Yes machine. The vocals! If you ever thought Jon Anderson was solely responsible for that element, think again: beautiful vocal harmonies abound ("You By My Side"), and Chris' voice is still so eerily Yes, even without Jon's unmistakable presence. But the music... just listen to "Silently Falling" or "Safe," the two extended tracks, and see for yourself. My descriptions could do them no justice. Picking favorite albums by your favorite bands is always hard, but it gets really messy when a solo effort such as this one ranks up with the best works by the band itself. Final analysis: one of my favorite albums, by one of my favorite humans.Corbet
A very interesting album, with great moments in the vein of YES and a certain personal imprinting by Chris SQUIRE too: such an excellent orchestral arrangement, along with the typical YES-like vocals. Well the last track "Safe - Canon Song" - is excellent and very close to the best YES stuff, but also the rest is worth checking out!! First of all the song "Hold Out Your Hand" already contains a powerful bass playing, supported by a good church-like organ. Besides the presence of some remarkable musicians such as Bruford, Moraz, Mel Collins, then also Jimmi Hastings on flute (listen to his stunning flute solo in the song "You By My Side") makes this album by Chris SQUIRE as essential number, being worth, as much as the best solo projects by other members from YES (sometimes by improving such style). Otherwise rightly the track "Silently falling", a 10 minute epic track, demonstrates such ability of performing a well structured progressive song in the vein of YES, by adding anyway a different mood, derived from his own music experience (a SQUIRE trademark) and without asking Jon ANDERSON & C. for giving a better shape to his solo project, except on some Bruford and Moraz sessions!!Lorenzo
Chris SQUIRE is the bass player of YES. On this solo album, maybe you expect some bass playing exhibition, but it is not the case: probably he rather focused on the quality of the compositions, which are actually not bad and quite varied. The keyboards consist mostly in basic ones and good piano. His bass is loud enough and well played, but no extravangance. The voice sounds exactly like YES-"Drama", because he was the lead singer on it too!greenback
Lots of instruments involved here: Saxophone and standard keyboards on Lucky seven give it a jazzy touch. Flute on silently falling, combined to the beautiful voice and piano, gives this song something soothing. Mellow harp, voice and piano on "Safe (Canon Song)" give this epic song all its majestic dimension.
A great catchBob McBeath
When the members of the then Yes line up (Anderson/Howe/Squire/Moraz/White) decided that they should each record solo albums, the betting was on that Squire and White would produce the inferior products, while the three front men led the way. While White's "Ramshackled" album was passable if unspectacular, Squire defied the odds to deliver a first class collection of progressive rock songs.
Squire, (Known as "Fish" before Fish was!) gathers together a band of competent musicians including one time Yes members Patrick Moraz, and Bill Bruford, plus Mel Collins, Jimmy Hastings etc, not to mention a full orchestra(!) to assist with the performance. Squire retains full responsibility for the song-writing, vocals, guitar, and of course bass.
With only five tracks on the album, the space available to develop the tracks into fine individual pieces is fully exploited by Squire. From the opening "Hold you your hand" he creates a sound which, while having echoes of Yes, is very much his own. His vocals, which sound familiar through their constant appearance behind Jon Anderson, hold up well on their own. "You on my side" is a real symphonic rock classic, with beautiful orchestration supporting a wonderfully strong melody.
"Silently falling" is a major opus, which sees Moraz combining with Barry Rose to sound more like Wakeman than ever in the huge space they are afforded. While Squire's version is superb, I get the feeling that had Yes developed the track as a band piece, it could have become another "Yours is no disgrace".
Just two tracks fill side two of the album. "Lucky seven" is a rather weak Average White Band like funky ramble, pleasant but no more. "Safe (Cannon song)" is the second opus on the album, a symphonic piece not unlike "Awaken" in structure, but with orchestra replacing keyboards as the feature sound. It's a majestic track, which allow Squire to roam free on bass, while avoiding the indulgence of using that instrument as the lead sound.
Squire appears perfectly comfortable with being the focus of attention throughout, which makes it all the more surprising that while he has been involved in collaborations with Billy Sherwood since, this is his only true solo offering to date. It's time for another Chris.
Halfway the Seventies all members of YES decided to make solo-albums. It's an understatement to conclude that all solo efforts from Alan White, Jon Anderson, Steve Howe and Chris SQUIRE were not every YES fan his cup of tea but Chris SQUIRE's album "Fish Out of Water" turned out to be the most acclaimed one. It was released in '75 and Chris got help from Bill Brudford (drums and percussion), Mel Collins (saxophones), Jimmy Hastings (flute), Patrick Moraz (organ and bass synthesizer), Barry Rose (pipe organ), Andrew Pryce Jackman (acoustic - and electric pianos) and an orchestra section. Chris SQUIRE played basses, 12-string electric guitars and he did all the vocals, on the song "Hold Out Your Hand" supported by his wife Nikki. "Fish Out of Water" contains five strong and original tracks, far from mainstream prog rock or a sound similar to YES. Every song has its own climate, ranging from catchy rock or jazzy prog to bombastic symphonic or warm classical. The keyboards sound varied and colourful (from sparkling Hammond organ tot majestic pipe organ and tasteful Fender Rhodes piano) and the guest-musicians delivers inspired contributions (an excellent Mel Collins in "Lucky Seven"). Of course the focus is on SQUIRE's powerful and distinctive Rickenbacker bass guitar sound but he avoids self-indulgence. The highlights are the two 'epic' compositions: "Silently Falling" with splendid interplay between SQUIRE, Bruford and Moraz (including a great organ solo) and "Safe" featuring spectacular shifting moods (from mellow to bombastic), a catchy bass riff and wonderful classical orchestrations. A very good and original solo album from a pivotal and often awarded bass player.Erik Neuteboom
With spacy yet melodic basslines, Squires sets the tone fow what is now considered a masterpiece in the genre. Chris Squire's Fish out of water assembles a great cast of artists, mostly prog veterans. Bill Bruford is as atmospheric as ever, with his always great use of the cymbals, and stays true to himself throughout the album. Squire shows us his mastery oh his instrument and brings in a jazz feel, especially in the 11 minutes and a half Silently Falling. He demonstrates why he is considered one of the most influential and ground breaking basists ever, as he is as melodic as any bassist has ever been to that point, and maybe even since then. The small orchestra works perfectly well, and with the addition of the flutes and the saxophone the prog elements seems right in place. Squire would not do this kind of album with yes, as there are about no solos, except one or two great ones on the keyboard by Patrick Moraz. Mostly the spacier album of his career, Fish out of Water still sounds absolutely great to this day. Highly Recommended for any fans of Yes or the bass instrument itself.Philippe Rodriguez
When I heard "Lucky Seven" at first time through a compilation cassette titled Yes Player by Perina Aquarius (the black and white version)sometime in late 1975 my first reaction was: "Oh boy . this is an accessible form of Yes music!". It quickly became my favorite track of this album because I really love the combination of sharp bass lines by Squire and unique snare drum sounds by Bruford whom I was so longing for with his style in Yes "Fragile" and "Close To The Edge". I remember that one year later, my friends who're music buffs and I, established a radio station (illegal one, oops .. sorry Mr. Cops - but finally you struck down our antenna and transmission unit system; how dare were you stopping our prog blood?? Uughhh ..!!) airing classic rock and art rock music. Ehm, you know the radio station name? It was called TS BC (Thunderstorm Broadcasting Corp.). Yes, our vision was clear: we wanted to socialize rock music like a thunderstorm .!!! There were no such thing called "progressive" at that time. You can guess, this "Lucky Seven" was becoming our favorite track as it had large share of airing time.Gatot Widayanto
And this morning: July 4, 2005 (thirty years later - thanks GOD you still give me a chance to enjoy prog rock!) when I was in my car this morning, an FM classic rock radio station (the legal one, of course) aired "Lucky Seven". My pulse was running rapidly, and I was stunned. It reminded me to the glory days of seventies rock scene. Oh, I remember my teenage times when we had a strong passion for rock and sometime we even yelled "I sold my soul for rock'n'roll, and never turning back!!!" (Friends, do you remember Triumvirat? Yeah .. they have that part of rocking lyrics!). Hey, the passion has got stronger nowadays - that's why we are much more appreciative to prog musicians! They are our hero.
The other tracks that blew me away were the first two tracks that must be enjoyed as one: "Hold Out Your Hand" and "You By My Side". You know what? I love the orchestration at the end of first track and continues seamlessly to the opening of "You By My Side" with powerful vocal line by Squire. The melody is really killing me man!
Sorry, I don't actually plan to bombard you with my right-placed childhood but . you know,. talking about this album brings me back to my teenage times so it always connects me to my past - beautiful one of course. As far as this album concern, I would recommend you to have it in your collection. It's an excellent addition to any prog music collection. If you love Yes, this is a MUST! Keep on proggin' .!
With the heart of prog, PEACE! - Peace on earth and mercy mild, Mother Brown has lost her child, just another forgotten sons!!!!
This is one of the best solo albums by Yes members, and probably the most yessy album of all those solo albums. While this is a solo album, Squire does not show off his bass guitar technique a lot. Instead, he created an album in which his band does most of the music. An interesting thing about this album, is that there is no guitar player. A criticism of the album are the vocals. I love him singing with Anderson, but alone he sounds a little funny. Nevertheless, it is a great jazz-fusion record with classical influences.Zitro
1. Hold Out Your Hand 8.5/10 : This is the kind of song that screams 'I want to be in classic rock radio!'. It is an excellent melodic song with beautiful organ work and a bass guitar solo.
2. You By My Side 7.5/10 : This song is a great symphonic song with great pop melodies and feels like the second half of Hold Out Your Hand.
3. Silently Falling 8.5/10 : My favourite song from the album. This is the most progressive song of the album too. It begins with a painfully beautiful flute solo, then is followed by nice melodies until a musical explosion of keyboards floors you. After the calm, Squire sings again with gorgeous piano work.
4. Lucky Seven 7/10 : This is a nice jazz song with a good keyboard line. There is a saxophone playing here, to make it sound more jazzy.
5. Safe (Canon Song) 8/10 : This is a favourite song of mine. It is a classical music piece with great orchestra arrangement, and some of the best bass playing from Squire. He plays a good solo buried under an orchestra, and plays two amazing bass lines.
I won't go into specifics about each track ad nauseum (you're welcome), I'll just tell you that all proggies that love the thick, melodic bass lines that characterize all great progressive rock should have this in their collection. It is atmospheric, mysterious and complex without becoming strange or discordant. The rapport that Bruford and Squire have always had when they are together is vibrant and alive throughout this album. Chris showed that he was an intricate contributor to the Yes phenomenon and if he had any doubters before, this collection of songs put them firmly in their place. It is a wonderful piece of work and, without a doubt, the best solo effort of any of the members of Yes, including Bruford's later adventurous excursions into jazz fusion.Rollie Anderson
Chris Squire's solo album has been re-released this year on Wounded Bird Records, who seem to be part of Rhino. This album usually competes with "Olias Of Sunhillow" for the title of Best Yes Solo Album and deservedly so. It differs from normal Yes output in that there is little lead guitar, this is replaced by some sterling work from the likes of Patrick Moraz, Mel Collins and Jimmy Hastings and, as you would expect, some fine solo bass work from Chris.Alan Hyde
Kicking off with the upbeat "Hold Out Your Hand", the bass guitar is immediately to the fore in this oddly timed number which is vaguely reminiscent of "Parallels". This song goes straight into the second number, the excellent and slightly country- flavoured "You By My Side" with its rousing chorus. This leads us into the "epic" song of the album, the brilliant "Silently Falling". The roots of this song can be found on early Yes numbers from the BBC recordings, but here it becomes an 11 minute classic, with a long Moraz organ solo, and a slow fade out kicked along nicely by the footwork of Bill Bruford.
Mr Bruford's classic snare sound is immediately recognisable on the next song, "Lucky Seven", which is a jazzy, seven to the bar number featuring the electric piano of Andrew Pryce Jackman. The album is rounded off with the 15 minute "Safe (Canon Song)" where the orchestra comes to the fore. This one is a little bit too long and repetitive for me (various instruments in the orchestra take turns to play the same short riff), but doesn't take anything away from an excellent album. The only other criticism I would make is that the bass guitar sound itself is occasionally a bit "rasping" and could do with a bit more crunch, other than that it's a four star album for me.
This is maybe the most Progressive Rock solo album released by the members of YES in 1975-76. This album is very good, and it is dominated by Squire`s bass guitar playing. He plays "melodies" and heavy parts on his bass guitar, sounding in some places like a "distorted lead bass guitar". Bill Bruford plays the drums as good as always, and Patrick Moraz plays mainly organ and piano, while there are some orchestral arrangements by the late Andrew Pryce-Jackman, a musician who worked with Squire in bands before YES was formed and also did some orchestral arrangements for YES`"Tormato" album. The orchestrations work very well with some of the songs.Suire`s vocals are very good, and his vocal arrangements are in the same level as with his collaborations with YES.Guillermo Vázquez Malagamba
During the recording of this album, Bruford and Moraz talked about playing together some day. This lead to them recording two duet albums in the `80s. It was also a curious thing to read in Bruford`s official website that he left YES in 1972 among other things because he was tired of "always waiting for Chris Squire to arrive". In 1975-76, Bruford was without a permanent band, so he worked as session musician, and maybe this was the main reason why he appeared in this album.
Squire was my favorite Yes member, but as others have noted, you really just don't appreciate how essential he is to their overall sound. He has a very solid voice--he can hit the high notes and while his enunciation and texture are not spectacular, his harmonizing is part of the reason why Anderson sounds so good. At any rate, this is no lost Yes album. You'll hear many moments that where you can close your eyes and imagine Yes playing along, until you listen for Howe's itchy guitar and Anderson's angelic tone and goofy lyrics. This album has all the bounciness and happiness of a Yes album, but the bass is cranked up and the orchestra is ever present, leading to a fairly unique sound to my ears.Chris
Hold Out Your Hand, You By My Side. These are essentially one song with two melodies. Plenty of playful bass/church organ interplay on the former, and a majestic series of vocal harmonies and beautiful orchestral chords in the latter. So full and lush, you can't help but smile at the end.
Silently Falling. A nice transition leads to a nice melodic build, and then Moraz, Squire and Bruford REALLY cut it loose. This was back when Moraz was still tasteful and somewhat restrained, and Squire rips out some awesome grooves. The track then slowly finishes with a melancholy refrain. A brilliant contrast to the beginning the largely works for me.
Lucky Seven. I'm always a sucker for changing things up and adding diversity to an album, so this jazzy groove in 7/4 is very welcome. It's definitely the weak point, and almost 7 minutes is too long, but some of Squire's basslines are worth waiting for.
Safe (Canon Song). This is one of my top 25 epics--lots of originality and energy. An orchestral opening leads to a huge chorus, and then it's bass time: at least three going at once, by my count. Absolutely awesome bass mayhem. Then the song leads into an extremely extended, quirky 11/4 section. Not many could pull this off, but dynamics and instrumentation change just enough to really keep things interesting throughout. An absolutely MASSIVE finale and Awaken-like die down close this gem in a great way.
I really don't know how you could go wrong with this if you are into full, symphonic prog. I think some people let their expectations influence what they hear, because Squire and friends have really done something special here in my opinion.
With no doubt, a masterpiece of symphonic progressive, comparable to the best Yes albums. See the video here in progarchives and enjoy the first and second track with orchestrations. I can not say what song is the best, I just love all this album! Five stars!Flávio Zimmermann
Chris Squire's single solo effort is quite a treat for Yes and symphonic fans alike, managing to pull together YesSounds with a new kind of sound that makes it sound familiar, yet new and refreshing. In the prog world its not uncommon to hear about lead piano, lead organ, or even lead sax, but ever heard of lead bass? Squire has, apparently, and in this effort manages to give bass players everywhere a good name. Five compositions fill this disc, each one a thing of beauty worthy of any prog fan's time.Patricia O'Bee
The album starts out with a pair of twins separated at birth. Hold Out Your Hand and You By My Side should really be seen as two parts to one song, since the flow together seamlessly and work with one another to make one complete theme that opens up the album quite nicely. This pair may be a little out of character for a YesMember, being that they sound almost commercial but really in the end they just have that kind of sound without any annoying pop-ishness. In the same vein is Lucky Seven which, while slower, is another cool song that trudges along bringing you for the ride and turns out being another song that a big prog fan might not expect to be good, but it is. All the while one is likely thinking, wow, this guy can actually sing! True (for now, anyways. In hindsight it seems his voice doesn't age too well as shown on Yes' last studio album), it seems that all those years standing too close to Jon Anderson has given him the 'balls in a vice' syndrome that forces his voice to be so high. Of course, anyone who listens really close to Yes already knows the parallels the two men's voices share, it's good that Squire actually chose to use it for once. Back on subject the shorter songs actually work quite well on this album.
Now for the best part, the long songs. It's easy to get very excited as a prog fan when one sees a track that reaches over 10 minutes. Many will also feel a sense of terror, fearing the artist may not be able to deliver. But Squire, baby, he d-e-livers. Safe (Canon Song) is a great track that's easy on these ears, it just keeps going and going like song sort of Energizer Bunny of nirvana (not the band[s]) until the album ultimately comes to a close. Even this song, however, must bow down to the majesty that is the ultimate lost Yes song, Silently Falling. This is a serene track that's just about as sublime as any track can possibly come. Listening to this song evokes such a feeling of absolute zen and bliss that one loses all sense of time and space. Beautiful flutes peacefully open the track as Squire proceeds to blow away the audience with supreme vocals and bass that is just awesome (I've run out of intelligent words at this point). This one song is worth buying the entire album for, even if the rest of the album is excellent as well.
This is a masterpiece. Maybe it's the lost Yes album, but really it's just Squire proving how great he is. Recommended to any Yes fan, any Symphonic Prog fan, and any prog fan in general. In fact, recommended to everyone short of metal-heads and rappers. Excellent album. It's too bad that Squire never followed up one this, or maybe it's good that he never spoiled his reputation by releasing poor solo work. Eh, that can be argued, but what can't be argued is the caliber of this album. Buy it.
No doubt about it - this is by far the best solo album ever by a member of Yes, and one of the milestones of symphonic prog, every bit as good as anything Yes did in their 35-year-plus careeer. With a lineup of musicians to die for, and Chris Squire's inimitable, ground-breaking bass playing skills, "Fish Out of Water" is a nearly-perfect record which deserves much more than the cult status it has enjoyed since it first came out.Raffaella Berry
Though a lot of criticism has been aimed at Squire's vocals, I personally find them no less valid than Jon Anderson's - maybe less angelic and more down-to-earth, understated but solid throughout. Anyway, this is not the kind of album you listen to looking for vocal prowess - the presence of a more assertive singer would have detracted from the musical brilliance of the instrumental parts, a real feast for lovers of vintage prog.
"Fish Out of Water" strikes the right balance between melody and complexity, its compositions tightly structured yet leaving room for the musicians to let rip and show their chops. Even if solo albums are often seen as vanity projects, there is very little self-indulgence here. While Chris's awesome bass playing does take centre stage, as it is to be expected, it is never to the detriment of the other instruments. Listening to this album, you get the impression of a unit working together towards a goal, not of a motley crew of gifted musicians left to their own devices. What is even more important, the five songs on it get top marks on a compositional level, and work together to form a harmonious whole - unlike what all too often happens in the case of many modern bands or artists (no names here, but I have a few ideas in mind...).
The two initial tracks, "Hold Out Your Hand" and "You By My Side", are excellent examples of accessible, melodic prog, enriched by the backing orchestration and lavish vocal harmonies, as well as Patrick Moraz's solemn church organ. However, the album really comes into its own with the remaining three tracks, easily numbered. amongst the masterpieces of Seventies progressive rock. "Silently Falling" is 11 minutes of musical ecstasy, alternating between the monstrously intricate interplay of Squire and Bruford's state-of-the-art rhythm section with the other musicians, and the rarefied, melancholy moods of the refrain. The following "Lucky Seven", featuring Mel Collins' contribution on sax, is probably the most adventurous track on the album, based on a sort of funky groove that shows a different side to Squire's playing, and definitely reaching out into jazz-rock territory. The record closes with another symphonic masterpiece, the 14-minute-plus "Safe (Canon Song)", where the orchestra acts on occasion as Chris's sparring partner, leading the way to a sumptuous, majestic finale.
A richly satisfying experience, musically impeccable but at the same time warm and accessible, and certainly no mere exercise in technical brilliance, Fish Out of Water is essential listening for anyone who claims an interest in prog, especially of the symphonic variety.
This review is dedicated to someone who loves this album to bits, and plays a beautiful Rickenbacker bass just like Chris Squire does...
One was probably doubtful about a solo album from The Fish. More expectations from his other Yes band mates was probably more awaited.Daniel
One has to recognize that this one is a very good work. The line-up is superb with ex-Yes Brufford, once Yes Moraz, the talented Mel Collins amongst others. And Chris is a pretty decent singer, no doubt. Since we all know his great talent on the bass, the only thing that could go wrong was the song writing.
But, in this sector as well, Chris surprised everybody by delivering nice ballads / melodies although more commercial oriented than true YesSongs ("Hold Out Your Hand", "You By My Side"). Still, pleasant to listen to even if there is an orchestra which is at times a bit invading (especially during the latter number).
The pastoral intro of "Silently Falling" is very much "Genesis" oriented ("Trespass"), but evolves very well into a more personal track. Nice bass / keyboards interplay. The melody is very catchy and the finale is rather bombastic. A highlight and a very powerful track (my fave here). Hats off Chris!
The jazzy "Lucky Seven" is my least favorite (but that's because I have never been into jazz probably). Still, the combination with the orchestra is not too bad a mix.
The epic track "Safe", closes this album brilliantly (during ten minutes). Bass play is superb and very strong. Keyboards sound almost as Emerson's ones at times and the vocal part is excellent all the way through. Not far from Jon's timber actually. Maybe that this number could have been either cut a bit or have the long and final orchestration part replaced by a more rock-oriented one. It should have been perfect.
Every YesFan should be pleased with this album. Surprisingly, no other will see the light. The one and only Chris's solo album. Actually, it is better to have released only a very good one than several average ones (like most of his YesFriends will do) right?
A solid four star for this excellent work. Bravo!
01. Hold Out Your Hand First, I am bear. I second, fan of the Squire. Third, when I bought this cd there is 1 year and a half behind I could understand how much Chris it was and it is essential in the compositions of the Yes. And clear, we can hear his voice in the foreground. It is obvious that the lines of bass are in distinction, but the principal it is the compositions, which are very well actions. I think that the only one however of the disc he is the drummer Bill Bruford, do not like his style, and for me he gave a touch of weakness to the compositions, but nothing that he compromises, since Patrick Moraz gives show in when they were keyed, and we have magnanimous Chris Squire with his Rickenbacker 4001, my dream of consumption. Little before the 3rd minute, Chris and the insignia afiadíssimo of bass give a show. The orchestra is essential to the sound of the music, appearing more in the final part.Diego Camargo
02. You By My Side What it follows in stampede for the second limit track, You By My Side. With the piano of Andrew Pryce Jackman in the foreground next to the bass and voice of Chris and Bill giving a touch with the battery there behind. An epic song in we have composicionais, delimits! Just as Jimmy Hastings enters on the stage with his flute the freedom of thoughts and emotions it brings up thoughts of afternoons that passed and of afternoons that still will come. After a almost stopped, Chris returns with vocal duplicated for the refrain, which by the way is outstanding. I go down and it orchestrates side by side, showing of the one who went to idea composicional principal. Big, absurd, brilliant Chris Squire, pantheon of the biggest of the world-wide music, with the help of a professional people.
03. Silently Falling The most symphonic of all, Symphony orchestra in all the aspects, who is in charge here is the orchestra commanded by Andrew, I reminded of myself of Peter E The Wolf, Jimmy's flutes are entrancing, all around they appear suddenly ordering more and more subjects. Here I found a sentence that takes me to front every time I remember her. To 1′48 Chris sings: ' Don't Believe in miracles, but I of the believe in love. ' (I do not believe in miracles, and yes, in the love). This is the spirit, if only a small part of the world was thinking so, we would live in a better world. The only part in Bill really shows the one that came in the battery is the Central part of the song, when Patrick goes flat, around 4 minutes. A huge one of an example of as a ' progressive song ' should be. When the vocal thing returns, there for the 6′30, Chris's voice shines in haughty way. To 7′30 the song changes his subject again, piano to the front, bass with different insignia, battery accompanying to line of bass. One or two 'lost' lines of guitar here and over there, also in charge of Squire, guitars are not heard in the disc, and they are nor needed, but there is a quite legal melodic line near to the ninth minute of the track. In the sequence the orchestra takes care of the 'background'. Epic poet of historical proportions.
04. Lucky Seven This introduction of keyboard is matadora, in a broken time and with animal insignia. Bruford accompanies it in syncopated and frantic rhythm, while Chris's bass goes if permeating in the melody, and we have Mel Collins (Van Der Graaf Generator) doing a precise harmony in his saxophone. And clear, the orchestra does very well his paper. I do not know if they did tour, or even, shows of discus to the time, it me them would be interesting to hear this sound to the living creature. 3 minutes, knockout to the bass, full one of harmonic, artificial and non-artificial. A sharp ready knife to cut the rash ears. Harmonic plays between the violins and the fantastic saxophone. Taste more special what. The end was released to do Honey what well to understand to a sax, and he soon placed two superimposed melodies, nature.
05. Wear (Canon Song) out Again, in perfect harmony, the tracks are still joined together. Again the orchestration is put in charge of making everything go round in perfect harmony. And the whispered vocal thing of Chris is completely that one needs to give itself up to the track. In what a thing follows, average cartoon, blows interpret, ropes make fastening the breathing. And Chris touches a highly strong and moving sentence in the bass. Here what the 5th minute brings near and Chris invests in a line of bass, at the same time, finds strange and needs, the orchestra does a counterpoint to the bass, battery following with the strange time. A perfect and synchronized union of ideas and ideals. We pass of the half, almost they go out from the rails, but the train Squire is perfectly guided by competent hands, and in way avassaladora, they compose one more orchestral magnificent subject again. With escapes and worthy counterpoints of any stated 'learned' composer. Not more I will speak on this final part of the subject, which is for alone, deserving you all the ears and with total attention. I leave the only word with you listeners!
Do not satisfy in being a fabulous bass player, Chris Squire in 1975, it composed and carved with a good group of musicians, one of the best progressive discs that has piece of news, top10 easily.
Y podría compiar muchísimos comentarios más pero ya está, demasiado para un lunes. El disco es una obra maestra, con cantidad de armonías, arreglos, desarrollos y sutilezas variadas, pero eso es otra historia, lo importante es que nunca olvidemos al gran Chris Squire. Va aquí nuestro homenaje...
Un disco imprescindible para cualquier amante del progresivo y de la buena música en general.