Outside of Yes, Chris Squire was the least prolific of all the members (he was also always in Yes). In fact, he only ever released one album under his name. Fortunately that one album is phenomenal.
As with the other albums, this doesn’t sound exactly like Yes but it sounds just enough like Yes to illustrate exactly what Squire brought to the band. The songs are all very well written and arranged, especially “Hold Out Your Hand”, probably the most celebrated Yes solo track. “Lucky Seven” is a very different avenue for Squire and is very cool.
The best part of this album, even beyond the songs and musicians, is just being able to hear Squire singing lead. He possessed such a unique, fantastic voice that he could easily have fronted a band and that is perhaps the most frustrating thing about his lack of a substantial solo catalogue.
Throughout this set, Squire is backed by a sextet of who’s whos, including Yes mates Bill Bruford and Patrick Moraz, as well as King Crimson sax man, Mel Collins, and Canterbury journeyman Jimmy Hastings on flute.
In fact, this whole album sounds more Canterbury than Yes. That, perhaps, is its greatest strength. This is especially evident in the jazzy, groovin’ “Lucky Seven”, with its sick sax riff by Collins, and the extended jams in “Silently Falling” are pretty wicked as well.
Another perk about this album is that it reunites the Squire/Bruford rhythm section, after three years and a lifetime of development. As tight as Squire/White would always remain, Bruford makes this album.
While it is a bummer that Squire never released another solo album (Conspiracy, Squackett, and the Swiss Choir aside), if you are going to make one album, and it ends up being as good as this, then you’re excused.
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