FISH OUT OF WATER

01. Hold Out Your Hand First, I am bear. I second, fan of the Squire. Third, when I bought this cd there is 1 year and a half behind I could understand how much Chris it was and it is essential in the compositions of the Yes. And clear, we can hear his voice in the foreground. It is obvious that the lines of bass are in distinction, but the principal it is the compositions, which are very well actions. I think that the only one however of the disc he is the drummer Bill Bruford, do not like his style, and for me he gave a touch of weakness to the compositions, but nothing that he compromises, since Patrick Moraz gives show in when they were keyed, and we have magnanimous Chris Squire with his Rickenbacker 4001, my dream of consumption. Little before the 3rd minute, Chris and the insignia afiadíssimo of bass give a show. The orchestra is essential to the sound of the music, appearing more in the final part.

02. You By My Side What it follows in stampede for the second limit track, You By My Side. With the piano of Andrew Pryce Jackman in the foreground next to the bass and voice of Chris and Bill giving a touch with the battery there behind. An epic song in we have composicionais, delimits! Just as Jimmy Hastings enters on the stage with his flute the freedom of thoughts and emotions it brings up thoughts of afternoons that passed and of afternoons that still will come. After a almost stopped, Chris returns with vocal duplicated for the refrain, which by the way is outstanding. I go down and it orchestrates side by side, showing of the one who went to idea composicional principal. Big, absurd, brilliant Chris Squire, pantheon of the biggest of the world-wide music, with the help of a professional people.

03. Silently Falling The most symphonic of all, Symphony orchestra in all the aspects, who is in charge here is the orchestra commanded by Andrew, I reminded of myself of Peter E The Wolf, Jimmy's flutes are entrancing, all around they appear suddenly ordering more and more subjects. Here I found a sentence that takes me to front every time I remember her. To 1′48 Chris sings: ' Don't Believe in miracles, but I of the believe in love. ' (I do not believe in miracles, and yes, in the love). This is the spirit, if only a small part of the world was thinking so, we would live in a better world. The only part in Bill really shows the one that came in the battery is the Central part of the song, when Patrick goes flat, around 4 minutes. A huge one of an example of as a ' progressive song ' should be. When the vocal thing returns, there for the 6′30, Chris's voice shines in haughty way. To 7′30 the song changes his subject again, piano to the front, bass with different insignia, battery accompanying to line of bass. One or two 'lost' lines of guitar here and over there, also in charge of Squire, guitars are not heard in the disc, and they are nor needed, but there is a quite legal melodic line near to the ninth minute of the track. In the sequence the orchestra takes care of the 'background'. Epic poet of historical proportions.

04. Lucky Seven This introduction of keyboard is matadora, in a broken time and with animal insignia. Bruford accompanies it in syncopated and frantic rhythm, while Chris's bass goes if permeating in the melody, and we have Mel Collins (Van Der Graaf Generator) doing a precise harmony in his saxophone. And clear, the orchestra does very well his paper. I do not know if they did tour, or even, shows of discus to the time, it me them would be interesting to hear this sound to the living creature. 3 minutes, knockout to the bass, full one of harmonic, artificial and non-artificial. A sharp ready knife to cut the rash ears. Harmonic plays between the violins and the fantastic saxophone. Taste more special what. The end was released to do Honey what well to understand to a sax, and he soon placed two superimposed melodies, nature.

05. Wear (Canon Song) out Again, in perfect harmony, the tracks are still joined together. Again the orchestration is put in charge of making everything go round in perfect harmony. And the whispered vocal thing of Chris is completely that one needs to give itself up to the track. In what a thing follows, average cartoon, blows interpret, ropes make fastening the breathing. And Chris touches a highly strong and moving sentence in the bass. Here what the 5th minute brings near and Chris invests in a line of bass, at the same time, finds strange and needs, the orchestra does a counterpoint to the bass, battery following with the strange time. A perfect and synchronized union of ideas and ideals. We pass of the half, almost they go out from the rails, but the train Squire is perfectly guided by competent hands, and in way avassaladora, they compose one more orchestral magnificent subject again. With escapes and worthy counterpoints of any stated 'learned' composer. Not more I will speak on this final part of the subject, which is for alone, deserving you all the ears and with total attention. I leave the only word with you listeners!

Haughty!

Do not satisfy in being a fabulous bass player, Chris Squire in 1975, it composed and carved with a good group of musicians, one of the best progressive discs that has piece of news, top10 easily.

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