A LIFE WITHIN A DAY

I was just as excited as the next prog rock fan when I read the news that Chris Squire and Steve Hackett were getting together to make an album. In fact, I believe I read about it in an issue of Prog, that brilliantly illustrated, high-quality magazine published in England by the same group that produces magazines for classic rock fans. Like most magazine articles, especially in the case of Prog, criticism seems to be on the light side. There's nothing wrong with a good dose of positivity, particularly for progressive rock music, but I have to imagine those that were taken in by all the positive press found themselves rather disappointed in this release.

This album really isn't all that different from anything else Chris Squire has performed on since the 1990s reincarnation of the classic Yes lineup. As such, works that he performs on tend to combine a respectable amount of accessibility; like combining that 1980s Yes pop rock formula with prog tendencies borrowed from the 1970s. Squackett's debut release is very much in the same vein, though the similarities with each member's foundational bands (Genesis and Yes) are weak links. What is most interesting about this release is that Squire seems to play a more subdued role. I, like many others, expected Squire to perform most of the vocals since he seems reasonably to be the better vocalist of the two. Hackett actually sings a lot more, and he does a much better job than I expected. Strangely enough, this album seems more like Hackett's take on that accessible 1990s Yes sound. Indeed, his performance (probably from some of the tonal qualities) seems more skewed in places towards Steve Howe's style than his own.

If you get into this album with some sense of not expecting anything grand, you'll leave with the feeling that the album is quite good. It has a couple memorable songs, and a few that in due time you'll likely skip over on a more and more regular basis. All of the songs have a very accessible feel to them and the production is of high quality. If you were expecting some sort of prog rock masterpiece that harkens back to the great albums of the 1970s, you'll likely be disappointed. One lesson I have learned in the last 15 years is to never expect something like that when Squire has a major part in the album. Squire is not interested in that kind of music anymore. It's evident in everything he has done since Yes' 90125 album back in 1983.

Instead of an expensive three-course meal at a five star restaurant, expect a meatball sub, a soda, and a bag of chips. Still, it's a good meatball sub.