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70年代ロックとファッション

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クィーンの故フレディマーキュリーとフォトグラファーのミックロック!
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by saika123 | 2012-01-18 12:26 | 70年代ロックファッション

ジャクソンポロック展2012

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2月に国立近代美術館にジャクソンポロック展がやってくる!僕にとっては、まさかのレッドツェッペリン来日と同じような興奮がある。
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ジャクソンポロックの絵画は200億円の価値がついていると展覧会のポスターに書いてあったが、そんな金額のことなど展覧会のポスターに書くことじたいがセンスのないことだ!
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ポロックの絵画が一同に集まるなどそうそう見れないので実に楽しみだ!ジャクソンポロックの絵画こそがROCKそのものだ
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by saika123 | 2012-01-17 14:34 | 美術

70年代ロックとファッション

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イギーポップの存在そのものがファッションだ!鍛え抜かれた身体、パフォーマンス、そして顔立ちからルックスまでロックそのものだ!!
IGGYPOP
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イギーポツプ(70年代)
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イギーポップ(2000年代)
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by Saika123 | 2012-01-15 15:36 | グラムロック

70年代ロック(グラムロックとグラマラス)

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by saika123 | 2012-01-15 13:56 | MUSE

70年代ロックとファッション

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レオンラッセル

70年代のレオンラッセルってめちゃかっこいい!
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ジーンズの上下、ハット、長い髪と髭!何と言ってもレオンの顔そのものがかっこいいんです!
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レオン・ラッセル(Leon Russell、本名Claude Russell Bridges、1942年4月2日 - )はアメリカのシンガーソングライター、ミュージシャン。
オクラホマ州出身。十代の頃からキーボーディストとして活動を始め、同郷のデヴィッド・ゲイツ(後のブレッドのメンバー)等とバンドを組む。以降ジェリー・リー・ルイス、ローリング・ストーンズら多くのアーティスト、フィル・スペクターのプロデュース作品のレコーディングに参加している。意外な所では、ザ・ベンチャーズのレコーディングの参加が知られている。「十番街の殺人」のサックスソロ(サックス音をレズリースピーカーから出す)、「朝日のあたる家」等で聴く事が出来るオルガンソロは、彼が弾いたものである。後にザ・ベンチャーズ(ロックの殿堂入り)のリードギタリスト、ノーキー・エドワーズがソロアルバム「Nokie!」をリリースした際にはライナーノーツを執筆、ノーキーやベンチャーズの音楽性の素晴らしさを力説している。
ソロ・アーティストとしては1968年から現在に至るまで数多くのアルバムを発表、ルーツ・ミュージックの色が濃い泥臭い音楽性は高い評価を受けている。それは、アメリカ南部出身のミュージシャンによって、ロサンゼルスで爆発した。ラッセルのロック・ミュージックはロサンゼルス産でありながら、”スワンプ・ロック”という呼称が与えられ、彼こそが、スワンプ・ロックのカリスマであった。彼の代表曲である『ソング・フォー・ユー』は1970年の作で、レイ・チャールズ、カーペンターズなどにカバーされた。この頃、スワンプ・ロックは、エリック・クラプトンにも大きな影響を与え、アルバムに参加したばかりではなく、彼のバンドから、ベースのカール・レイドルやドラムのジェイミー・オルティカー、その他、ディック・シムズ、マーシー・レヴィを引き抜いている。1979年の日本公演でアルバム化されたクラプトンの「ジャスト・ワン・ナイト」では、ラッセルの代表作『ソング・フォー・ユー』のピアノの降下音の完全コピーで演奏を開始して、その音楽的起源を披露している。他にも『タイト・ロープ』、『スーパースター』、『マスカレード』など、カバーされた作品は多い。
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by saika123 | 2012-01-15 13:53 | 70年代ロック

70年代ロック(グラムロックとグラマラス)

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by saika123 | 2012-01-14 17:56 | MUSE

70年代ロック(グラムロックとグラマラス)

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[PR]
by saika123 | 2012-01-14 12:15

70年代ロック (グラムロックの起源を探る)

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Allan Holdsworth (born 6 August 1946) is an English guitarist and composer. He has released twelve studio albums as a solo artist and played many different styles of music spanning a period of more than four decades, but is best known for his work in jazz fusion. A player noted for his advanced knowledge of the fretboard and innovative playing, he is cited as an influence by such renowned rock and instrumental guitarists as Eddie Van Halen,[3] Joe Satriani,[4] Greg Howe,[5] Shawn Lane,[6] Richie Kotzen[7] and John Petrucci,[8] as well as Rush guitarist Alex Lifeson.[9] Frank Zappa once called Holdsworth "one of the most interesting guys on guitar on the planet".[10]
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Contents [hide]
1 Recording career
1.1 Early bands ('Igginbottom, Sunship, Tempest)
1.2 Journeyman years (1974-1977)
1.3 Bruford, UK, and other (1977-1979)
1.4 1980s
1.5 1990s
1.6 2000s and 2010s
2 Compositions and style
3 Equipment
4 Personal life
5 Discography
5.1 Studio albums
5.2 Live albums
5.3 Collaboration albums
5.4 Other album appearances
5.5 VHS video releases
5.6 DVD video releases
5.7 Books
6 References
7 External links
[edit]Recording career
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[edit]Early bands ('Igginbottom, Sunship, Tempest)
Holdsworth first recorded with the band 'Igginbottom on their lone release, Igginbottom's Wrench (later reissued under the group name of "Allan Holdsworth & Friends"), in 1969. In 1971, Holdsworth joined Sunship, an improvising band also featuring Alan Gowen, Laurie Baker and future King Crimson percussionist Jamie Muir. The band played live but never recorded any records.[11]
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In the early 1970s Holdsworth joined the British progressive rock band Tempest, and performed on their self-titled debut studio album in 1973. His playing can also be heard on a live BBC Radio concert from the same year, which was released in 2005 as part of a Tempest compilation album entitled Anthology: Under the Blossom.
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[edit]Journeyman years (1974-1977)
Following his short tenure with Tempest, Holdsworth worked with various well-known progressive rock and jazz fusion artists. In 1974 he played on the Soft Machine studio album Bundles and from 1975-1976 with The New Tony Williams Lifetime on the Believe It and Million Dollar Legs albums, an experience he was to prize.[12] In 1976 he played with Gong (contributing to their Gazeuse and Expresso II albums) and with Jean-Luc Ponty on Enigmatic Ocean.
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In 1976, CTI Records released a recording of a rehearsal session, passing it off as an official recording, under the title of Velvet Darkness. This angered Holdsworth, who says he still loathes the album intensely.[11]
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[edit]Bruford, UK, and other (1977-1979)
In 1977, Holdsworth was recruited by progressive rock drummer Bill Bruford to play most of the guitar on Bruford's first (and jazz fusion-influenced) solo album Feels Good to Me.
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Shortly afterwards, Bruford was recruited into a new, second-wave British progressive rock band - UK, which was fronted by Bruford's former King Crimson bandmate John Wetton. When Wetton recruited the virtuosic and classically-influenced Eddie Jobson (ex-Roxy Music/Frank Zappa) into UK on keyboards and violin, Bruford in turn recruited Holdsworth as a jazzier "counterweight". Both the Bruford and UK debut albums were released in early 1978, with the latter rapidly eclipsing the former in terms of profile and marketing. Holdsworth's second spell as a potential progressive rock star was as short as the first. Chafing at the more composed and predictable elements to UK's music, he objected to being expected to play the same solos every night. Despite his musical fluidity and virtuosity, this approach did not suit John Wetton, who fired him from the band. Bruford quit in sympathy or was also fired (depending on accounts). Holdsworth would later stress that although he'd not enjoyed his time in the band he'd liked and respected everyone involved and that the problems were "purely musical".[12]
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While UK continued with different musicians, Bruford returned to the core lineup of his solo album as the band Bruford, and retained Holdsworth as its guitarist. The first album under that name (One Of A Kind, recorded and released in early 1979) featured extensive contributions by Holdsworth, but the guitarist was by now tired of being a sideman and decided to follow his own course. Following the band's first British tour, Holdsworth quit, although not without reluctance.
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[edit]1980s
Holdsworth's next significant collaborator was jazz pianist Gordon Beck, with whom he first played on Beck's Sunbird album in 1979. Their first proper collaboration, The Things You See, followed in 1980, which was a largely similar effort without percussion or bass. Both musicians would later work together again in the decades to come. Soon afterwards, Holdsworth joined up with drummer Gary Husband and bassist Paul Carmichael as a trio, in what became known as False Alarm. This was to be Holdsworth's first outing as a bandleader and, after the acquisition of former Tempest singer Paul Williams, the band was renamed I.O.U. Their self-titled debut album, I.O.U., was released independently in 1982, followed by a mainstream reissue through Enigma Records in 1985.[13]
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Immediately after I.O.U.'s release, Van Halen guitarist Eddie Van Halen brought Holdsworth to the attention of Warner Bros. Records executive Mo Ostin. Van Halen had previously enthused about Holdsworth in a 1980 issue of Guitar Player magazine, saying "That guy is bad! He's fantastic; I love him", and that Holdsworth was "[t]he best, in my book".[3] This resulted in the Warner Bros. release of Road Games in 1983. It was produced by longtime Van Halen executive producer Ted Templeman, and received a Grammy Award nomination in 1984. Holdsworth, however, has always disliked the EP because of various creative issues which arose with Templeman.[12] At the time, the latest incarnation of the I.O.U. band consisted of drummer Chad Wackerman (who, along with Gary Husband, would become a regular Holdsworth bandmember for the next three decades) and bassist Jeff Berlin. Former Cream singer Jack Bruce provided vocal duties, as well as a returning Paul Williams.
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Having relocated permanently to Southern California and acrimoniously parted ways with Warner Bros.,[13] Holdsworth signed to Enigma for the 1985 release of Metal Fatigue (along with the aforementioned I.O.U. reissue). It was at this time that Flim & the BB's bassist Jimmy Johnson joined the band and, like Husband and Wackerman, has remained a consistent bandmember to this day. Making his last appearance on vocals was Paul Williams, with whom Holdsworth claims to have fallen out due to the selling of live bootlegs by the former.[1]
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The Atavachron album in 1986 was a landmark, in that it was the first to feature Holdsworth's work with a brand new instrument named the SynthAxe. This unusually designed MIDI controller (albeit not a guitar synthesizer)[14] would become a staple of Holdsworth's playing for the next fifteen years, during which he would effectively become the public face of the instrument. The next year saw a fourth album, Sand, which featured no vocals and showcased further SynthAxe experimentation. A second collaboration with Gordon Beck followed in 1988, with With a Heart in My Song.
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In the late 1980s, Holdsworth set up his own recording studio—The Brewery—in San Diego, California, which would become one of the recording locations for all of his studio albums beginning with Secrets (1989) and throughout the 1990s. In a 2005 interview, however, he stated that he no longer owned the studio following his divorce in 1999.[1][12][15] The aforementioned Secrets introduced pianist Steve Hunt, who went on to play keyboard on two further albums, and as a member of Holdsworth's touring band.
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[edit]1990s
A collaboration in 1990 with fusion guitarist Frank Gambale came about in the form of Truth in Shredding, an ambitious studio project put together by Mark Varney (brother of Shrapnel Records founder Mike Varney) through his Legato Records label.[16] In December of that year, following the death of Level 42 guitarist Alan Murphy in 1989, Holdsworth was recruited by the band to play as a guest musician during a series of concerts at London's Hammersmith Odeon. With former I.O.U. partner Gary Husband now being the drummer for Level 42, these factors all led to Holdsworth contributing guitarwork on five tracks on their 1991 album, Guaranteed.
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Holdsworth's first solo album of the decade was 1992's Wardenclyffe Tower, which continued to feature the SynthAxe but also displayed his newfound interest in self-designed baritone guitars (built by luthier Bill DeLap).[17] With the release of Hard Hat Area in 1994, Holdsworth's touring band for that and the following year was composed of Steve Hunt, Gary Husband and bassist Skúli Sverrisson. A collaboration in 1996 with brothers Anders and Jens Johansson resulted in the hard-edged funky, bluesy, odd time signature-laden Heavy Machinery. In the same year, he was once again joined by Gordon Beck on None Too Soon, which featured interpretations of a selection of his favourite jazz standards, including The Beatles' Norwegian Wood.[18]
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[edit]2000s and 2010s
The decade began positively with The Sixteen Men of Tain in 2000, but it turned out to be Holdsworth's last album recorded at The Brewery. Immediately afterwards, he abruptly slowed down his solo output due to events within his personal life.[12][15][19] A pair of official live albums, All Night Wrong and Then!, were released in 2002 and 2003, respectively, along with a double compilation album, The Best of Allan Holdsworth: Against the Clock, in 2005. His eleventh album, Flat Tire: Music for a Non-Existent Movie, was released in 2001 and remains his most recent studio effort. According to Holdsworth, a new studio album entitled Snakes and Ladders was slated for a 2008 release on guitarist Steve Vai's Favored Nations label, but as of 2011 this has not come about. Further new material featuring Chad Wackerman and Jimmy Johnson was also said to be in the works.[15] In a 2010 interview, he again claimed to have enough material for two albums, which he planned to begin recording after a show in Tel Aviv, Israel.[12]
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Throughout the latter half of the decade, he toured both North America and Europe extensively, and has played as a guest on albums by numerous artists: most notably with former Dream Theater keyboardist Derek Sherinian on Mythology (2004) and Quantum (2007); the latter with Sherinian's progressive metal group Planet X. In 2006, he performed with pianist Alan Pasqua, Chad Wackerman and bassist Jimmy Haslip as part of a live tribute act in honour of late drummer Tony Williams. A DVD (Live at Yoshi's) and a double album (Blues for Tony) were released in 2007 and 2009, respectively. Throughout 2008–2010, he toured with drummers Terry Bozzio and Pat Mastelotto, and bassist Tony Levin as HoBoLeMa, a supergroup playing improvised experimental music. On 3 November 2011, Holdsworth performed in Mumbai, India as part of drummer Virgil Donati's touring band, which also featured pianist Austin Peralta and bassist Anthony Crawford.[20]
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[edit]Compositions and style

Holdsworth's solo compositions are primarily instrumental, but vocals were prominent on all his 1980s albums except Sand. Two of his most recurring singers were Paul Williams (featured on I.O.U., Road Games and Metal Fatigue) and Rowanne Mark (Atavachron and Secrets). Additionally, he himself sang on 'Igginbottom's Wrench and The Things You See. In his early career he occasionally played violin[1] (on Velvet Darkness, Sunbird, The Things You See and I.O.U.) and acoustic guitar (on Velvet Darkness, U.K., Gazeuse and Metal Fatigue), but claims to not be proficient at the latter;[19] this is due to it being percussive, and hence a lack of desire to play such an instrument.[17]

He has a distinctive playing style that involves a strong scalar sense, combining elements of jazz and progressive rock. The harmonic structure of his pieces can be highly abstruse, with frequently shifting tonal centres, and his soloing follows from a self-taught advanced modal framework derived directly from his unusually-voiced chords. His phrasing almost always features striking yet subtle transitions between notes that often work to defeat a listener's expectations of consonance and dissonance, with wide and unpredictable intervallic leaps. Whilst soloing, he predominantly uses various legato techniques such as slides, hammer-ons and pull-offs (the latter being a personalised method which works more akin to a 'reversed' hammer-on);[21] all of which result in an extremely fluid lead sound. One of the reasons for his renowned emphasis on legato, as opposed to picking, stems from a desire to make the sound between picked and legato notes indistinguishable.[22]

Another of his most identifiable traits is the use of rich, fingerpicked chords (often awash with delay, chorus and other complex effects), which are articulated and sustained using volume swells to create sounds reminiscent of the horn and saxophone. He has said that he prefers both of the aforementioned to the guitar, which was not his first choice of instrument upon receiving one from his father when beginning to play.[23][24][25] It was because of this unfamiliarity with the guitar, combined with attempting to make it sound more like a saxophone, that he originally began to use legato without realising that it was not a common method of playing at the time.[17] Furthermore, he was influenced greatly by such saxophonists as John Coltrane, Cannonball Adderley, Michael Brecker and Charlie Parker,[25][26][27] whilst some of his favourite guitarists were Django Reinhardt, Joe Pass, Wes Montgomery, Jimmy Raney, Charlie Christian and Hank Marvin.[24][27]

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by saika123 | 2012-01-14 12:13

70年代ロック(グラムロックとグラマラス)

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[PR]
by saika123 | 2012-01-14 12:00

70年代ロック (グラムロックの起源を探る)

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Christopher Russell Edward "Chris" Squire (born 4 March 1948), is an English musician, known as the bass guitarist and backing vocalist for the progressive rock group Yes. He is the only member of the group to appear on every album.
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Contents [hide]
1 Biography
1.1 Before Yes
1.2 Yes
1.3 Conspiracy and beyond
2 Style
3 Nickname
4 Family
5 Discography
5.1 Solo
5.2 Guest appearances
5.3 With Yes
5.4 With Conspiracy
5.5 With The Syn
5.6 Instructional
6 References
7 External links
[edit]Biography
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[edit]Before Yes
He was born in Kingsbury, a suburb of northwest London, in England. His father was a cab driver, and his mother a housewife. He was trained in the St Andrew's church choir as a young boy, beginning his musical career with a group called the "Selfs" , along with his friend Andrew Jackman who played the keyboards. The band had their own venue at the St Andrew's church hall where on Friday nights they played at their own club, called appropriately, the "Graveyard Club". This was run by a group of local Grammar School boys which included Jonathan Angell, Bill Mesley, Chris Mann and Colin Mallett.
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When Squire was about sixteen, The Beatles and Paul McCartney were the catalyst that prompted him to consider a career in music and to take up the bass guitar.[1] In 1964, he was suspended from the Haberdashers' Aske's Boys' School for "having long hair", and given money to get a haircut. Instead he went home, used the money for other things, and never returned to school.
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Squire was fond of experimenting with LSD in the 1960s, until an incident where he had a bad acid trip. He recalled that "it was the last time I ever took it, having ended up in St Stephen's Hospital in Fulham for a couple of days not knowing who I was, or what I was, or who anybody else was."[2] He also recalled that he spent months inside his girlfriend's apartment, afraid to leave, and it was during this time that he developed his style on the bass. He recovered and never used LSD again.
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Squire's first bass was a Futurama, "very cheap, but good enough to learn on."[3] He acquired his signature Rickenbacker 4001 bass in 1965, while working at Boosey & Hawkes. His early influences were diverse, ranging from church and choral music to the Merseybeat sounds of the early 1960s and he studied the bass styles of John Entwistle, Jack Bruce, and Larry Graham.[3] Squire's first musical groups The Selfs, The Syn (both including Jackman), and later, Mabel Greer's Toyshop, would introduce him to his early Yes collaborators Peter Banks and Jon Anderson. In 1965, he made his first public appearance with the Selfs at "The Graveyard" club in St Andrew's Church Hall.[4]
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[edit]Yes
During his first conversation with Anderson, the pair broke the ice by discussing one of their favourite groups, Simon & Garfunkel (Yes later covered the duo's "America") and Squire discovered that he and Anderson were both into vocal groups. His other influences included The Fifth Dimension and The Beatles.[5] Squire claimed Yes was formed with Anderson, drummer Bill Bruford and keyboardist Tony Kaye partly out of necessity. "I couldn't get session work because most musicians hated my style. They wanted me to play something a lot more basic. We started Yes as a vehicle to develop everyone's individual styles."[6]
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Yes released their first record in 1969, and though the band have had many personnel changes over the years, they have continued to record and tour for over 40 years. Squire is the only original member who has remained in the lineup throughout the band's recording tenure, with Jon Anderson only having been absent on 1980's Drama and 2011's Fly From Here. He has also been one of the main forces behind the band's music, as well as "perhaps the most enigmatic" group member.[7]
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While Anderson typically handled the lyrics, Squire co-wrote much of the band's music with guitarist Steve Howe (with Anderson chipping in occasionally, as well). In addition, Squire and Howe would supply backing vocals in harmony with Anderson, which can be heard on songs like "South Side of the Sky" and "Close to the Edge".
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During the band's formative years Squire was frequently known for his tardiness, a habit that drummer Bill Bruford often complained about. Because of this, Squire would frequently drive at unsafe speeds to get to gigs on time, once causing an accident on the way to a gig in West Germany after he fell asleep at the wheel, although nobody was injured.
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As Squire, along with Alan White and Steve Howe, co-owned the "Yes" name at the time, the 1989 ABWH lineup without him (which contained Anderson, Bruford, Wakeman and Howe) could not record under that name.
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Squire has concentrated overwhelmingly on Yes' music over the years, and his solo works have been few and far between. His first solo record was 1975's Fish Out of Water, featuring Yes alumni Bill Bruford on drums and Patrick Moraz on keyboards and The Syn/The Selfs alumnus Andrew Jackman also on keyboards. Squire was later a member of the short-lived XYZ (eX-Yes/Zeppelin) in 1981, a group composed of Alan White (Yes) on drums and Jimmy Page (Led Zeppelin) on guitar. XYZ recorded several demo tracks at Squire's home studio in Virginia Water, but never produced anything formal, though two of the demos provided the basis for two later Yes tracks, "Mind Drive" and "Can You Imagine?". Squire also played a role in bringing Trevor Rabin into the Cinema band project, which became the 90125 lineup.
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[edit]Conspiracy and beyond
Later, Squire would join with Yes guitarist Billy Sherwood in a side project called Conspiracy. This band's self-titled debut album contained the nuclei of several songs that had appeared on Yes' recent albums. Conspiracy's second album, The Unknown, was released in 2003.

In late 2004, Squire joined a reunion of The Syn, subsequently leaving the band in May 2006. He worked on two solo projects with other former Syn collaborators Gerard Johnson, Jeremy Stacey and Paul Stacey. A Christmas album, Chris Squire's Swiss Choir, was released in 2007 (with Johnson, J. Stacey and Steve Hackett).

On 9 February 2009, Squire was rushed to a hospital to treat an aneurysm in his leg, leading ultimately to the cancellation of the remaining dates of a leg of the In the Present tour. He has since fully recovered, and touring resumed.

[edit]Style

Squire's bass playing is noted for being aggressive, dynamic, and melodic. Squire's main instrument is a Rickenbacker bass (model RM1999, serial number DC127), which he has owned and played since 1965—the year it was first introduced. In many ways, the Rickenbacker was the polar opposite of the then commonly used Fender bass. (In fact, the electric bass at the time was often referred to as the "Fender.") The RM1999 was a budget, monophonic version of Rickenbacker's 4001 stereo bass. This model was imported into the UK by Rose Morris Ltd (hence the RM prefix on the model number) and, according to Squire's official website, was only the fourth bass of its type to be imported into Britain from the United States.

Squire mentioned in a 1979 interview with Circus Weekly that he acquired this bass while working at the Boosey & Hawkes music store in London.[3] This instrument, with its warmth and distortion, is a significant part of Squire's unique sound. Due to its distinct high/mid tone, it allowed the bass to take on a more "lead" role, which suited Squire perfectly. Unlike the grooving low end thump established by James Jamerson and imitated throughout the world of rock and R&B, Squire constructed contrapuntal lines reminiscent of a "Bach/Baroque" style where the bass played a separate melody from the main theme. The fact that the Rickenbacker had a "harpsichord-like" sound suited this approach perfectly.

According to his interview in Guitar Player magazine in October 1973, Squire obtained his distinctive tone at the time by rewiring his RM1999 into stereo and sending the bass and treble pickups each into a separate amplifier. By splitting the signal from his bass into dual high and low frequency outputs and then sending the low frequency output to a conventional bass amplifier and the high-frequency output to a separate lead guitar amplifier, Squire produced a tonal 'sandwich' that added a growling, overdrive edge to the sound while retaining the Rickenbacker's powerful bass response. This gave his bass sound bright, growling higher frequencies and clean, solid bass frequencies. This technique allowed Squire to utilize harmonic distortion on his bass while avoiding the flat, fuzzy sound, loss of power and poor bass response that typically occurs when bass guitars are overdriven through an amplifier or put through a fuzz box. During an interview to Bass Player magazine in January 2009, Squire claimed to have rewired his bass to stereo, even before Rickenbacker introduced the Rick-O-Sound feature, so he could send the output of the bass (neck) pickup through a fuzz box, while keeping the treble (bridge) pickup clean, because the last sounded "horribly nasal" when used with the fuzz effect.[8] He also plays with a pick which contributes to the sharp attack as well as using fresh Rotosound Swing Bass strings for every show.[9] Squire's intricate and complex bass playing style has influenced subsequent bassists such as Billy Sheehan, Geddy Lee of Rush, Steve Harris of Iron Maiden, Les Claypool of Primus, John Myung of Dream Theater, and Robert DeLeo of Stone Temple Pilots.[10]

In addition to his back-up vocals, Squire is featured as lead vocalist on two Yes songs: "Can You Imagine?" from Magnification and "The Man You Always Wanted Me to Be" from Fly From Here. He also has a more prominent vocal role on parts of the Drama album.

[edit]Nickname

Chris Squire is commonly known by his nickname "Fish", and the name is associated with many of his works (including his solo record, Fish Out of Water, and the solo piece "The Fish (Schindleria Praematurus)" from the 1971 Yes record Fragile). The name has multiple origins. First, his astrological sign is Pisces. Second, in the early days of Yes' career, he once accidentally flooded a hotel room in Oslo, Norway, while taking a shower, and Bill Bruford gave him the nickname.[11] He may also have acquired this nickname because of the alleged amount of time he spends in the bath. On the 2007 documentary "The Classic Artists Series 3: Yes", Bruford says that the nickname arose because Squire spent long periods in the bathroom while they shared a house together in Fulham.

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by saika123 | 2012-01-14 11:59