Jump to content

Another legend lost


Feezelbum

Recommended Posts

I am just gutted right now, Yes was my first concert ever and I'd seen them more than any other band. Last two years, travelled on Cruise to the Edge with Yes and other rocker bands, Chris looked on approvingly late one night as a passenger band played Gates of Delirium. He was an affable fellow, open to discussions with passengers and loving the limelight. He lived a quintessential rock lifestyle and not arguably was one of the two greatest bassists in rock of all time, the other being John Entwistle. He will be missed, but he has left us with quite a catalog of music to enjoy. In the last two days I've listened to Fish out of Water, watched Yessongs, House of Yes, Symphonic Yes, and the Keys to Ascension series. 

 

Tempus Fugit

 

Godspeed Christopher Russell Edward Squire

 

 

If you want to get a chill, check out the lyric and solo vocal of Chris on 'Can you Imagine?' from the Magnification album. 

 

"Can you imagine, 

what it's like

seeing life from 

the other side?" 

post-8651-0-57920000-1435695880_thumb.jp

  • Like 4
Link to comment
Share on other sites

So sad... 

Yes.  Ben, as Michael said in his post, Chris was very approachable.  I met him last summer after a show.  I’ll never forget he said to me, “What did you say about my bass?”  I told him that I said it was one of the most beautiful instruments that I’d ever seen…and it was. I’ve always liked Rickenbackers. But, Chris was very good natured and joked around with me after that.  By the way, he wasn’t asking me what i said out of anger or anything…he simply didn’t hear what i had said.  he was one cool dude. Now getting Steve Howe to talk--much more challenging.

Edited by BigStewMan
  • Like 1
Link to comment
Share on other sites

Cool write up about Chris and Yes by Brian May.  I like this part:

 The Yes system was shockingly different.  It comprised massive square black boxes (known as ‘Bins’ - for the low frequencies) and large metal fan-shaped devices sitting on top (known as ‘Horns’).  Our aws dropped.  We’d never seen anything like it.   We asked them later how this came about and they told us that this was the Iron Butterfly system, designed to put across one of the loudest bands in the world at that time.   For Yes, it was not so much about being loud, as being clear.  To put across multi-part harmonies on top of a loud rock band required a lot of spare power, or all that would come out would be distortion, since you were trying to make those delicate harmonies compete with the sound coming out of loud guitars and drums actually on stage, in the ‘back line’.  For us this was vital information.  We, as Queen, were planning to do exactly that … make vocal harmonies sit on top of a band sound that was going to be louder and more ‘heavy’ in content than Yes’s. So if this new kind of system worked, this was what we wanted.  Of course there was one small snag … we had no money !! 

 

  The rest is here on Brian’s website.  Scroll down to Sunday 28 June entry Chris Squire R.I.P.:          http://www.brianmay.com/whatsnew.html

Edited by BigStewMan
  • Like 2
Link to comment
Share on other sites

  • Moderators
A few more photos for you guys.

 

Very nice, well done, a little more importance to the pictures looking back now.

 

Unfortunately everything comes to an end

 

I think I like the first picture the best, the second one stands out a little more now, considering.

Edited by dtel
  • Like 1
Link to comment
Share on other sites

Cool write up about Chris and Yes by Brian May.  I like this part:

 The Yes system was shockingly different.  It comprised massive square black boxes (known as ‘Bins’ - for the low frequencies) and large metal fan-shaped devices sitting on top (known as ‘Horns’).  Our aws dropped.  We’d never seen anything like it.   We asked them later how this came about and they told us that this was the Iron Butterfly system, designed to put across one of the loudest bands in the world at that time.   For Yes, it was not so much about being loud, as being clear.  To put across multi-part harmonies on top of a loud rock band required a lot of spare power, or all that would come out would be distortion, since you were trying to make those delicate harmonies compete with the sound coming out of loud guitars and drums actually on stage, in the ‘back line’.  For us this was vital information.  We, as Queen, were planning to do exactly that … make vocal harmonies sit on top of a band sound that was going to be louder and more ‘heavy’ in content than Yes’s. So if this new kind of system worked, this was what we wanted.  Of course there was one small snag … we had no money !! 

 

  The rest is here on Brian’s website.  Scroll down to Sunday 28 June entry Chris Squire R.I.P.:          http://www.brianmay.com/whatsnew.html

Thanks for sharing that….

Link to comment
Share on other sites

That's a bass rig too - 8x10, Marshall 4x12, two 18" bins, and a couple other cabinets up top. If you sat in front of Chris at a show, it kicked you in the sternum all night and rattled your bones when he stepped on the Moog Taurus bass pedals. 

  • Like 3
Link to comment
Share on other sites

Cool write up about Chris and Yes by Brian May.  I like this part:

 The Yes system was shockingly different.  It comprised massive square black boxes (known as ‘Bins’ - for the low frequencies) and large metal fan-shaped devices sitting on top (known as ‘Horns’).  Our aws dropped.  We’d never seen anything like it.   We asked them later how this came about and they told us that this was the Iron Butterfly system, designed to put across one of the loudest bands in the world at that time.   For Yes, it was not so much about being loud, as being clear.  To put across multi-part harmonies on top of a loud rock band required a lot of spare power, or all that would come out would be distortion, since you were trying to make those delicate harmonies compete with the sound coming out of loud guitars and drums actually on stage, in the ‘back line’.  For us this was vital information.  We, as Queen, were planning to do exactly that … make vocal harmonies sit on top of a band sound that was going to be louder and more ‘heavy’ in content than Yes’s. So if this new kind of system worked, this was what we wanted.  Of course there was one small snag … we had no money !! 

 

  The rest is here on Brian’s website.  Scroll down to Sunday 28 June entry Chris Squire R.I.P.:          http://www.brianmay.com/whan

 

Thanks for posting..  I've been wanting to read Brian's tribute to Chris but haven't yet bothered to look it up....

Link to comment
Share on other sites

Sorry Michael, I forgot to compliment you on those photos…VERY well done, Sir.  Love them.

 

I agree with Steve.  Your photos ROCK!  I don't know your agreement with CTTE but I'm sure many CTTE and others would love some wall sized photos.      

  • Like 2
Link to comment
Share on other sites

That triple neck bass was constructed so he could play the track Awaken live. Chris played the bass pedals along with it. 

 

In recent years he didn't take the actual Moog Taurus setup, but had a custom pedal board with the sounds sampled into it. During Starship Trooper especially (the part I demo my THX subs to you guys with), it often felt like the floor of the arena was just dropping away. That track is a true test of the musicality of a subwoofer system. If you can hear individual notes you've got a great setup. 

  • Like 2
Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

×
×
  • Create New...