Review Summary: Fish Out Of Water represents the first and unfortunately the last and only solo contribution by one of the best and most respected artists of the prog world.
Given the sad departure of Chris Squire, known as Fish before Fish was, which I only had knowledge recently, I thought it was necessary to do very soon the review of his solo album “Fish Out Of Water”, released in 1975. This is really the only thing I can do to present my deeply respect and pay my tribute to one of the bigger names of the progressive rock music. I only can say that simply disappeared one of the best bass players ever and one of my favourites too.
Yes was formed in 1968 after singer Jon Anderson met bassist Squire at a London music industry bar. The pair was soon joined by guitarist Peter Banks, keyboardist Tony Kaye and drummer Bill Bruford. Over the ensuing decades, Yes would see a parade of band members depart, enter and re-enter, but Squire was the lone constant in the shape shifting band, serving as their bassist for nearly 50 years and remaining as the only member who participated in all Yes albums. For the entirety of Yes existence, Squire was the band’s linchpin and the glue that held it together all over the years.
In addition to his work with Yes, Squire was involved in other projects, like his solo album “Fish Out Of Water”. It’s the only Squire’s solo work, excluding 1981’s “Run With The Fox” with Alan White and his choir endeavour, “Chris Squire’s Swiss Choir”. Squire also teamed with the Yes part-time guitarist Billy Sherwood for their Conspiracy project in 2000 and, more recently, formed Squackett with the ex-Genesis guitarist Steve Hackett. Squire’s first bass was a Futurama, a very cheap but with good and enough quality to learn on. In 1965 he acquired a Rickenbacker 4001 bass, which along with his personal settings, creates an unmistakable timbre, which became his signature. Squire’s bass style is melodic, intricate, complex, dynamic and aggressive. It was much influenced by the John Entwistle bass style, one of the best bassists ever. Squire style influenced other bassists, such as Geddy Lee of Rush and Steve Harris of Iron Maiden.
To play with him on the album, Squire got a lot of help from his old friend from his church choir days and The Syn, Andrew Price Jackman who made the superb arrangements for the orchestra on the album as well as playing the pianos, Mel Collins and Caravan’s Jimmy Hastings on sax and flute, Patrick Moraz on electric organ, and perhaps most surprisingly, Bruford on the drums where one would probably have expected White, supposedly his natural choice.
“Fish Out Of Water” has five tracks. Every track has its own climate, ranging from catchy rock or jazzy prog to bombastic symphonic or warm classical. The keyboards sound is varied and colourful and goes from the sparkling Hammond organ to the majestic pipe organ and tasteful Fender Rhodes piano. However, all the guest musicians delivers inspired contributions, like Collins made in “Lucky Seven”. Of course the focus is on the Squire’s powerful and distinctive Rickenbacker bass guitar sound, which is, once more and as always, absolutely great. The highlights on the album are the two epic compositions “Silently Falling” and “Safe (Canon Song)”. “Silently Falling” has a splendid interplay between Squire, Bruford and Moraz, including a great solo organ, and “Safe (Canon Song)”, features spectacular shifting moods, from mellow to bombastic, a catchy bass riff and has wonderful classical orchestrations.
So, “Fish Out Of Water” has many of the elements of the greatness that were hallmarks of the early 70’s Yes output. The album was a product of the end of the “Relayer” era Yes line up. It’s a grand opus with orchestra and lengthy compositional passages that allowed Moraz the ability to work his magic in a subtler musical arena. Bruford does what he does best, play the sideways time signature straight but with a twist. Interestingly, there are almost no guitars on the album. Squire’s vocals are on form despite he wasn’t properly a great singer and the vocal duties by himself, making this album of many definitions. One can hear Squire as Yes, as the solo artist, the composer, the bass player and the sideman to the unforgettably haunting arrangements. If we compare it to the other Yes solo albums of the time, this will be perhaps the most Yes sounding and grandest achievement in their back catalogue. All of this made of “Fish Out Of Water” one of the real great works of the 70’s made by a pivotal and often awarded bass player.
Conclusion: This is a very special review and a sad day to me. It represents my simple and sincere homage to one of the greatest figures of the prog rock music. Probably I wrote more about the man and his work, than about the album, but I was unable to do it otherwise. I think Squire’s work is more important in the prog music than this album, despite its great qualities. This is one of the cases that an artist work is more important to the prog world than his contribution on the Yes albums and on his solo work. Anyway, “Fish Out Of Water” is a great album and against all expectations, it’s one of the best and most solid solo works of all Yes members. So, R.I.P. Chris (Fish), you will surely be missed by all.
Best tracks: “Silently Falling” and “Safe (Canon Song)”.
Music was my first love.
John Miles (Rebel)
