Rickresource Rickenbacker Forum

I recently did a bass cover clip for "Looking Around" from Yes' 1st album.

On this bassline can be found some elements that, in my opinion, became part of Chris Squire's distinctive style, namely - the inclusion of octave leaps and pedalling.

We can wonder about the origins of these early influences, most likely the fact that Chris (said on his "Starlicks" video that he) listened to a lot of motown/soul music from the 60's. That incorporates both of these elements, along with "funky" syncopated rhythmic figures. Pedalling is a harmonic technique equally very present in classical music. Chris was part of English choirs and also stated that he used to "jam" a bit at the church's organ.

Despite of this hypothetical reasoning, this blend of influences turned out in fact to create the unique basslines that we all know, and of course by adding his own personal perception of those influences, and the timbre of his fingers and the Rickenbacker bass.

In the case of "Looking Around" those elements can be found, for instance on the brige that ends with "keep on moving, never dying" and the instrumental section that follows.

On the left I placed the root of the implicit harmony (supplied by the other instruments, to my ears)
On brackets - whether the bass follows the root or does a pedal note.
Each line denotes one bar and lyrics were copy-pasted from a site, hope they are accurate.

G# (bass on root)----------------Just reach out and catch and hold on,
F# (pedal G#)---------------------Leaving trails of dust and lust,
E (pedal G#)--------------------Never even ly'ng or try'ng,
F# (bass on root)-----------------keep on moving, never dying.

G# (bass on root)
F# (bass on root)
E (bass on root)
A (pedal E)
D (pedal E)
A (pedal E)
E (bass on root)
A (bass on root)

(on to solo bass - 1st time / hammond riff - 2nd time)

So... watch for that style of syncopated octave leaping and pedal notes, or all together (pedalling with octave leaps). I especially like the way he played with those octave leaps using the open E. There are many rythmic patterns there, some of which follow the hammond organ riff or the lyrics metrics, but again with many variations that I guess just come with the feeling of the moment and build the so-called "groove". I think this is a really "groovy" bassline.

So when I decided to cover it, I thought that I shouldn't worry too much to go note-by-note. I did it as much as I could but also trying not to "predict" note-by-note as I was playing, and try to keep that "groove" happening on my cover. (My English is perhaps not so clear but I think you will get the point)

Hope you enjoy it and that the subject is open for discussion!

Here is the link

http://www.youtube.com/watch?v=cYQLy7UclVk

greetings to you all

Miguel

Hi Miguel, I think you hit the nail on the head and your rendition is spot on. And yes I believe I detected a smile – as well you should when playing like that. A lot of the Squire sound (especially early on) had the almost Motown feel to it (Sweet Dreams anyone?). Years ago I attempted to do this tune as well… and when you are ‘in the groove’ it almost seems to flow naturally. I suspect that is the way it was played by the originator as well. I have always liked the framing of the pedals and bass; especially in the early Yes tunes

BTW – your English is superb (probably better than mine in fact). Worry not; your ideas come across….
Fine Job.

+1 on the English, Miguel. Your writing in our language is better than many of us that speak it as our native tongue!

I for one really appreciate the tabs, mp3 files and youtube postings, as well as all of your thoughts and insights into Chris' music. Since the tour was postponed, I've been thinking about opening discussions on each Yes album, starting with the first, perhaps one a week or one a month, but just getting a good discussion going on each one. This analysis of Looking Around would be a great start to getting a hold of Chris' early style and development.

Miguel, Excellent rendition even more that you are playing a Chris Squire model Ric, one of my early fav songs
I will have to work on this now that you given me the tab. Thanks see how well I do on an old 4001 of my own.

Nice Job!

Tallpat

welcome,miguel! i just watched your u-tube vids for looking around,and one of my favorites,astral traveller.fabulous job,i will have to check out your other videos as soon as i can,they are just really great! lately,i have been messing around with "beyond and before" - i like the groove on that song,and it's probably one of the easier ones to pick up....also "harold land", i do love those first 2 albums as much as anything the group has ever done....

You cant underestimate the influence of the Beatles and the Who on bass guitarists in the late 60s.
Paul was using the bass in ways that other musicians aspired to and then they went off on their own paths.
Listen to Everlasting Love by Love Affair to hear what other bass players were doing and also songs like Matthew and Son by Cat Stevens.
Motown and Beach Boys records always had interesting bass lines thanks to people like James Jamerson and Carole Kaye.
All the movement and melody coming from the bass became more pronounced from 67 onwards with the influence of Penny Lane and Good Vibrations.
Chris took it all a stage further and mixed in his love of Motown, Beatles and the Who.
Thats the way it comes across to me at any rate.
Personally I just love Survival. Its got all you need to know about Yes in the opening bars!

Squire himself said that his two major influences were John Entwhisle and Sir Paul McCartney

just_bassics wrote:+1 on the English, Miguel. Your writing in our language is better than many of us that speak it as our native tongue!

I for one really appreciate the tabs, mp3 files and youtube postings, as well as all of your thoughts and insights into Chris' music. Since the tour was postponed, I've been thinking about opening discussions on each Yes album, starting with the first, perhaps one a week or one a month, but just getting a good discussion going on each one. This analysis of Looking Around would be a great start to getting a hold of Chris' early style and development.

That is a GREAT idea Jim! This way, each album covered will have to get dusted off and listened to again.

Lets also not forget the SOLO stuff, I've been listening to Rick Wakeman's CRIMINAL RECORD a lot lately, thanks to my Ipod....CHAMBER OF HORRORS has some AMAZING Chris Squire work on it. I love this cd, about 1/2 of the recordings have Chris on them.

I'm embarrassed to say, I've never used tabs, so I don't completely understand all the notations. Minguel, thanks so much for your work. It enables hacks like me to learn some of the songs I'd NEVER be able to figure out myself!

tony-criminal record,oh yeah!!! that was i think,rick's 2nd greatest solo lp,ever,period. (after 6 wives of course) And it featured some great playing from both chris and alan,probably one of the reasons i hold it such high esteem.

Thank you everyone for your comments on my text and clip!

The part I wrote about Chris' influences I also learned from the starlicks video and other bits of interviews.

Pete, i will check now for your suggestions. I don't have so much knowledge about the overall music scene from the 60's and as Chris said, there was Paul McCartney , John Entwhistle and all the great pioneer bassists from that era. I just mentioned two elements and exemplified where they were noticeable on that particular bassline, in my perspective. Not that they constitute the whole style of playing.

Just adding one more suggestion. I very much appreciate the vocal harmonies of CS&N. When I first heard YinD for the 1st time, I felt there was a connection... or later with Roundabout or the middle section from SSotS... but that's another big subject... anyway, on the CS&N compilation 2CD from the early 90's there is a demo for "Guinevere", sang by David Crosby, with Jack Casady on bass. I was delighted with that bassline and that "singing" melodic tone reminded me of something very much in the style that Chris was doing. I don't have the exact year for that recording, but for sure there was some very innovating playing going on, taking the bass to new grounds.

M

Miguel,
Check out Wooden Ships a great CSN track...great harmonies too...years ago a mate of mine thought it was Yes!
Theres a good live Steve Stills version of that on CD somewhere.
Going back to the Who,lots of people that arent very familiar with them only think of Townsend and Moon smashing up the stage and Daltrey swinging his mic around.
Listening to their three part harmonies on "Im a Boy" and "A Quick One While Hes Away" and later tracks like "Behind blue eyes" you can hear that theres a lot more to the Who than meets the eye.
It was John Entwistle who provided the high harmonies whilst playing some pretty athletic bass lines....who does that remind you of?
My sister was a big fan of The Hollies in the 60s. They were from Manchester like we were and could rival anything the Beatles did chartwise in the early 60s.
The Hollies also had great harmonies and again theres an influence on Yes in Graham Nash with his high harmony lines that carried on into CSN and their influence on Jon Anderson. I bet Jon managed to see The Hollies in Manchester when he was around the scene in the Warriors.

Hi Pete, I'm back after some busy period ... meanwhile I got my MSc... I'm a bit more relaxed now.

I forgot to mention the Hollies, you're right! They are a favourite from my dad and I used to listen to a collection of hits from them.
Later I learned Graham Nash was there. For sure sounds familiar. It many times reminded me of Nash's singing on those "la la las" on South Side of the Sky!

M