Squire's style and basslines?

law · Post by **law** » Fri Apr 07, 2006 12:05 pm

This one's for Bjornn (or anyone who can answer my question). Has anyone ever asked CS how his basslines are generated? I know he is a "self taught" bassist which leads me to believe he just listened to what the other band members had and then improvised what he heard in his head. I'm wondering what the songwriting process was for Yes, but CS in particular. If you buy the remasters from Atlantic, they always have studio run-throughs (my favorite part) and his basslines are always different than the released version. I am very curious about this and would like any feedback I can get.
Thanks

sloop_john_b · Post by **sloop_john_b** » Fri Apr 07, 2006 1:08 pm

I am not a Yes fan, Luke, but from this site I have gathered that he was a huge fan of Paul McCartney and John Entiwstle, Enty in particular. Perhaps he drew inspiration from their basslines and tone?

cheyenne · Post by **cheyenne** » Sat Apr 08, 2006 1:28 am

I've always liked Chris's melodic style. But I dont have a clue as to how he developes his lines.

I think he did start out as a guitar player. If that matters.

mgauction · Post by **mgauction** » Tue Apr 11, 2006 3:39 pm

Squire's bass lines have always played to me like a guitar player would approach it.

myfretless · Post by **myfretless** » Thu Apr 13, 2006 4:09 pm

I think Steve Howe was a big influence on Squire from the Yes Album through to Drama. I was watching the Tempus Fugit video yesterday and saw them both playing the same runs.

That being said... what HAPPENED to Chris after 90125? It's like his inventiveness became too much work for him. His idol seemed to be John Wetton, who went from being amazingly dextrous to preferring to play just the root note on the down beat.

Something similar happened to John Taylor of Duran Duran. The first two DD albums are chock full of tasty bass goodness and then... whammo! Basic boring bass lines the rest of his career.

rictified · Post by **rictified** » Thu Apr 13, 2006 7:14 pm

I think he found the "sound" and the sound dictated his style along with the band he was in. If you are talented and lucky enough to be in a band with all talented people you are going to soar and he did.

levykev · Post by **levykev** » Fri Apr 14, 2006 8:24 am

not sure about that... when i saw the Syn in January, i thought his lines were pretty amazing. definitely different from the crazy 70's and early 80's...

jwr2 · Post by **jwr2** » Sun Apr 16, 2006 2:10 pm

Chris had vocal training as a kid ... I think he sang in a boys choir or something ... hence his bass lines are quite melodic ...

fran4001 · Post by **fran4001** » Sun Apr 16, 2006 2:58 pm

Also, last I heard and read, Chris has no guitar experience. Went directly from choir to bass!

wints · Post by **wints** » Sun Apr 16, 2006 3:43 pm

His melody is what separates him from many IMO. Macca and Entwistle were certainly progressive players and the whole period musically in the late 60's really accelerated creative bass playing.

squirebass · Post by **squirebass** » Fri Jan 05, 2007 11:59 am

I've watched him pretty closely over the years, and I noticed once when I saw him in concert how he plays "horizontally". I mean that he doesn't seem to play in boxes very much, but instead will go up the neck on one string for like four or five notes, then moves up to the next string and does the same. You have to know the fretboard pretty well to do that, but I've noticed him doing it a lot. Man, I am posting to all these old threads, I need to visit here more often....

cheyenne · Post by **cheyenne** » Fri Jan 05, 2007 12:57 pm

I've noticed,and have practiced that over the years. Its a very BIG part of his sound. Notes take on a different "timbre" when played at various parts of the neck.

Helps keep the fullness in the sound when playing with alot of treble.

Example: take a pick and play an octave "C" on the 5th fret of the "G" string, then play the same octave on the 10th fret of the "D" string.

sounds alot fuller huh?

johnallg · Post by **johnallg** » Fri Jan 05, 2007 5:35 pm

I though I read that before Yes was started, Chris woodshedded in his flat for months with his bass. Melody, harmony, and syncopation are his stalwarts; I've always felt it an offshoot of his choral background.

I don't agree with his playing getting "lazy" after 90125 - look at Talk...

just_bassics · Post by **just_bassics** » Sat Jan 06, 2007 1:08 pm

Squire was never a guitarist. As a bassist, he may be self taught, but he has heavy training as a child and teenager singing in some of England's best and hardest working choirs. If you want some great insight into his melodic bass thinking, go back and listen to some serious Gregorian chant and other forms of early church music. I think that is where most of his musical form developed. Plus, he was a master at holding out until he got his way in the mix. Bruford stated that CS would take forever to work out his final riffs, regardless of the cries from others to "wrap it up".

Squire is also responsible for almost all of the vocal arrangements heard in YES music... as big a contribution as his bass playing, IMHO.

cheyenne · Post by **cheyenne** » Sat Jan 06, 2007 2:05 pm

Chris Squire is the common denominator of YES.

Always been there.

Take Chris out of YES,,,,what do you have?

He should have it his way.