Siberian KhatruYes
1972
You’d be surprised by how many times I get asked “what if push comes to shove is the quintessentially prog rock track?” Without any hesitation I always point to this piece of music. It’s not because I’m a huge Yes fan or that I think they represent the pinnacle of that period of music making - far from it.
But I reliably opt for this track because it seems to me to represent all the good and bad that came (or comes) with the genre.
From its jagged mutant rock n’ roll guitar opening, the soaring mellotron-driven main theme, the frankly daft and impenetrably mystical lyrics, shifting time signatures, ornate arrangements, absurdly confident musicianship - it’s all there, brimming with ambition as it it with excess, and I love every second of its nine minute duration.
But for me there’s a real magic contained in the moment when the music abruptly halts and we are suddenly escorted into the engine room of the track.
Here the heartbeat bass of Chris Squire pulses and throbs as Steve Howe’s increasingly strangulated guitar motif coils and circles back on itself; Bruford’s snare and Anderson’s voice are locked together, punctuating the machine-like regularity of the backing with clipped phrases which cumulatively build and threaten to go critical.
It’s the musical equivalent of looking into the back of watch and seeing the inner mechanism at work; cogs and wheels, brimming with energy and intelligence.
When the main theme kicks back in everything really moves into another gear and the track, by now already over seven minutes, finds itself renewed and refreshed once again. The ascending run on the bass from Squire almost sounds like giddy celebratory laughter, as though they can hardly believe how good that moment was.



