Courtesy of Chris Squire Com

Christopher Russell Edward Squire was among the most dynamic, inventive, groundbreaking, and influential bassists of his generation – and in the overall history of modern rock as the bandleader and anchor of progressive rock icons Yes.

 

Akin to Jaco, Sir Paul, and James Jamerson – scores of bassists cite him as the main reason why they picked up the instrument.

 

Along with Macca, whom he was significantly influenced by, Squire brought his Rickenbacker 4001 to the forefront and in the process, greatly expanded the tonal language of the instrument by cranking the treble to levels hitherto unheard.

 

Chris Squire’s harmonic and rhythmic vocabulary was boundless. He referenced classical passages and blues licks – often together in a single composition. A world class soloist and accompanist, the breath of Squire’s musical knowledge and curiosity never stopped growing and moving forward. Especially in Yes’ latter day canon which combined classical, jazz, and new age.  

 

Most rock music followers are familiar with Chris Squire and Yes’ classic 1970s era, along with their pop inclinations during the 1980s. However there was never a time throughout their nearly half-century history together when Squire and Yes stood still or were at a loss for fresh ideas, sounds, and direction –despite the frequent disapproval of critics and nostalgic listeners.

 

A composer, singer, educator, innovator, recording artist, collaborator, band-member – volumes have been written about Squire – and his work is readily documented on YouTube, among other platforms.

 

Tony Senatore: Here’s my Chris Squire story.. he was playing in Buffalo with Yes, and walked into a local bar.. In the bar was a local bass player named Nick Veltri.. an area legend that used a old P bass with the tone control removed, waddafoam in the bridge, an Ampeg B15 and flatwound strings that were on his bass for 20 years. The two bassists had a conversation, and Squire said to Veltri “I want my bass to sound like a grand piano!”Veltri paused, and responded…”I want my bass to sound like…a bass!”

 

Chris Squire Sound & Vision

Just about every track Chris waxed is worthy of exploration…

“Yours Is No Disgrace” https://youtu.be/93y9wfB3EM8

“Roundabout” https://youtu.be/cPCLFtxpadE

“Astral Traveler” https://youtu.be/qEUkRRLe6vQ

“Into the Lense” https://youtu.be/qXhYsMEjsZ8

“Love Will Find a Way” https://youtu.be/Hrowi4hHz8A

“Wondrous Stories” https://youtu.be/9-BMlq_zyko

 

By Tom Semioli

I heard you on the wireless back in fifty- two, lying awake intent at tuning in on you… “Video Killed the Radio Star”

 

 

He’s the bassist who composed an anthem which, to my ears, most represents rock and roll’s ascent / descent from an artform into entertainment – or vice versa depending on your cultural disposition.   

 

A multi-instrumentalist, producer, composer (spanning pop songs to soundtracks), collaborator, recording artist, publisher, studio owner, and label owner, among other titles, Trevor Charles Horn learned to formulate triads on the upright from his dad, who was a professional player.

 

Inspired by the major rock artists of the era – The Kinks, Stones, Beatles – Horn paid his dues toiling in several bands and working for a music publisher on London’s fabled Denmark Street, pitching songs and waxing demos.    

 

In 1978, Trevor formed The Buggles with keyboardist Geoffrey Downes, a new-wave collaborative which cut their aforementioned signature hit and consequently enjoyed pop-star fame at the ripe old age of 30.

 

Then things got strange…

 

Sharing the same management team as ye olde progressive progenitors Yes, the burgeoning Buggles buddies found themselves in the group – which caused a major stir among fans who found the close-coiffed thin-neckwear lads anathema to capes, smoke machines, and LP side-long compositions.

 

Their first platter with Yes, aptly titled Drama (1980), was a modest success on both sides of the pond – however the support tour proved otherwise, given that the change from progsters to popsters was too much for both the band and their legions. As such, Downes remained with Yes, and Horn opted for a (safer) career as a producer, which is where Trevor hit his stride.

 

Among Horn’s numerous successes behind the console and as a collaborator include Dollar The Dollar Album,  ABC Lexicon of Love, along with releases by Frankie Goes To Hollywood Welcome to the Pleasuredome, Art of Noise (which Horn was a member), Grace Jones, the Pet Shop Boys, Seal, Robbie Williams, Jeff Beck, and a few slabs with his old mates Yes and their various offshoots which were artistic and commercial triumphs.

 

For his accomplishments, Horn has garnered three Brit Awards, a Grammy, and an Ivor Novello Award. In 2011 his was appointed Commander of the Order of the British Empire (CBDE) for his services to the music industry.

 

On the topic of Trevor the bass player – as you would expect, he is the consummate song player. The last time we checked up on him, Trevor was anchoring The Dire Straits Legacy ensemble and The Trevor Horn Band, among other projects.

 

Dig these Trevor tracks…

 

“Video Killed the Radio Star” https://youtu.be/W8r-tXRLazs

 

“Living in The Plastic Age” https://youtu.be/S3Ecs07in7U

 

The Producers – Two Tribes Live: Trevor Horn, Stephen Lipson, Lol Créme, Ash Soan https://youtu.be/IBWY8oAnnww

 

The Trevor Horn Band “All The Things She Said” https://youtu.be/T231VgvcVx4

 

Yes “Tempus Fugit” https://youtu.be/vzxZzIiO84Y

 

Yes “Into the Lens” https://youtu.be/qXhYsMEjsZ8  

 

Art of Noise “Close (To the Edit)” https://youtu.be/-sFK0-lcjGU

 

The Dire Straits Legacy “Walk of Life” https://youtu.be/iN8StueiLpw