I’m still kind of reeling from the announcement that Chris Squire of Yes is being treated for leukemia. Squire’s bass playing basically powered my engineering education at Princeton; I’m pretty sure I completed every physics, electrical engineering or math problem set listening to Yessongs, Relayer, and Going For The One. His bass was equally at home as a melodic voice (Heart of the Sunrise, Perpetual Change) as it was nestled in next to Alan White in the rhythm section. My love of all things Rickenbacker stems directly from Squire’s choice of axe, and I’ve even modeled capes (truthfully: while getting into trouble in departments in which I had no business at Nordstrom) playing air bass.
The news is amplified through a 3-course plate o shrimp: It’s been just about a year since my ice hockey coaching friend Chad beat his leukemia into remission; I’m just getting proficient enough on bass myself to appreciate the dexterity and musicianship required to pound out some of those Squire bass lines; this week, Progeny, a 7-show collection of 1972 Yes concerts was released in a nicely packaged and Roger Dean-enhanced boxed set. Progeny is effectively the early leg of the 1972 tour that produced Yessongs; it’s a bit of Phish show catalogue of the Fish in his favorite element.
Yessongs may be one of the single largest musical influences in my life. It was, at the time, the most expensive record I had purchased (the original vinyl is a triple LP). I copied Roger Dean’s artwork repeatedly; I studied the packaging as a musical history codex. It’s a safe bet that my love of live music is a by product of the crowd noise, energy and gentle melodic liberties of that recording. Progeny, indeed. And sincere hopes that Squire is able to beat his leukemia and continue making music that spans decades.