Chris Squire
Fish Out Of Water

Without a doubt, this is the best solo work from that incredible and relentless group called Yes. The protagonist "el paron": the great bassist, singer, and progressive compositional machine Chris Squire.

We are in 1975, and Yes is already in orbit alongside other supergroups of the era. It's time to isolate their minds and unload their never-opened drawers. Squire's is a chest, considering the work in question. This involves a mega production from the period, with Mel Collins on sax, the magnificent pianist/keyboardist Patrick Moraz present on Relayer and the following tour, Bill Bruford on drums, at the time with King Crimson.
In short... the ideal team is created. The result is an almost grandiose, semi-orchestrated work partially anticipating a "Magnification" of the next century, progressive in a very original and complex way, managing to add something to the already overflowing. The unleashed Squire works very well and makes the strings of his bass overheat in almost every track.

Everything opens with "Hold out your hand" offering a very clean sound and a certain "aphonia" of tones set by Squire's voice. A very Crimson track, pure progressive from the cultivated '70s. Great work underneath by Moraz with extremely intricate lines. Bruford plays in his way... a syncopated out-of-time that actually isn't. To move on to the next track, the orchestra draws a majestic curtain, and here is "You by My Side", a slow ballad with a beautiful melody featuring flute that inevitably takes you to the Genesis of the time. A splendid track. "Silently Falling" is a mega-piece for true connoisseurs of epochal prog. Majestic, dark tones, with Relayer-like acceleration in the middle. 11 minutes in total. A documentary.
The following "Lucky Seven" is not much less. It starts with a little riff with electric piano, sax. All very particular and always for ears well-conditioned in the genre. A Crimsonian connotation, but it also seems like early-period Supertramp. Here too, originality, perhaps too much. The musical vein is overwhelmed by exasperation. The last track, "Safe", is a film. An endless score, more played than sung, stuffed with baroque elements, rock, progressive, even psychedelia. There's a stretch that seems taken, (or copied?), from an Atom Heart Mother. Indeed it is excessive, 15 minutes of near madness. There is also a whiff of "Tales of", but you're playing on home ground.

The work is entirely aimed at those who like true, classic progressive. Without compromises. Otherwise, don't bother. If you don't have something of ELP, Yes, Genesis, King Crimson from those days, you're not ready. It's quite a feast. But not for an empty stomach.
Joe Cavalli.