Parallels - 2003 Remaster

"Parallels" is a powerful anthem of spiritual alignment, personal renewal, and the collective power of love. At its core, the song explores the intersection between individual realization and communal harmony. The title itself, Parallels, suggests distinct paths or lives running side by side, which, through a shared vision ("parallel our sights"), can move together towards a higher purpose without necessarily colliding or conflicting.

The lyrics open with a theme of disillusionment with the material world. The protagonist has "tried most everything" to get "higher"—a likely reference to spiritual enlightenment or perhaps the fleeting highs of hedonism—only to find that the answer lies within the heart. This reflects a common motif in Jon Anderson's and Chris Squire's writing: the journey from external searching to internal knowing.

The Metaphor of Construction: The imagery of building a "shining tower" serves as a central metaphor for constructing a new reality or a better world through cooperation. It implies that when individuals align their energies ("parallel our heights"), they possess the power to create a "new dimension." This is not just a physical structure, but a spiritual state of "making love towards perfection."

The song serves as a bridge between the spiritual and the physical, mirrored by the music itself—the church organ representing the divine/spiritual, and the driving bass and drums representing the earthly/physical. It is a message of hope, asserting that we "have the power" to change our trajectory once we align our internal truth with our external actions.

The narrative begins with a sense of exhaustion and realization, depicting a protagonist who has exhausted all worldly avenues in a search for elevation and meaning. Having 'played with fire' and found no satisfaction in external pursuits, the focus shifts inward, acknowledging that the true source of power and direction lies within the heart. This internal revelation marks a pivotal turning point.

As the perspective widens, the lyrics describe a journey across the globe, observing the myriad faces of humanity—young and old—all contributing to a larger, shared story. This observation dispels doubt, replacing it with a palpable sense of immediate renewal. A 'new love' is blossoming, likened to an ever-opening flower, symbolizing infinite potential and organic growth. The mood becomes urgent and collective, with a call to action to build something magnificent, described metaphorically as a 'shining tower.'

The climax of the message centers on alignment and unity. By 'paralleling' sights and heights—aligning visions and ambitions—the collective discovers that they are exactly where they belong. The narrative insists on transparency, displaying both rights and wrongs to maintain strength. Ultimately, the song is a declaration of empowerment, asserting that the capacity to create a new dimension of love and perfection is already in hand, waiting only to be set in motion.

"Parallels" was written solely by Yes bassist Chris Squire. It was originally composed for his 1975 solo album, Fish Out of Water, but was omitted due to the limitations of vinyl running times and a feeling that it didn't quite fit the flow of that record. When Yes reconvened to record the album Going for the One in 1976, Squire presented the song to the band, and it became a standout track on the album.

The recording process for "Parallels" is legendary in the annals of progressive rock history. The track was recorded at Mountain Studios in Montreux, Switzerland. However, the defining instrument of the song—the colossal pipe organ—was located miles away at St. Martin's Church in the nearby town of Vevey.

• The Remote Recording Experiment: Keyboardist Rick Wakeman played the church organ live in Vevey, while the rest of the band played in the studio in Montreux. The two locations were linked by a high-fidelity telephone line (often described as a dedicated landline feed) to transmit the audio in real-time.
• Technical Challenges: Despite the distance, the band managed to lock in the groove, creating a massive, reverb-drenched sound that captured the natural acoustics of the church. This logistical feat contributed significantly to the song's "live" and expansive feel.
• Production: The track was produced by the band themselves, marking a departure from their previous work with producer Eddie Offord, allowing them to pursue this raw, energetic sound.

Rhythm: "Parallels" is primarily in 4/4 time, but it is characterized by a heavy, driving rock beat that distinguishes it from the more delicate or jazz-influenced tracks often found in Yes's discography. The rhythm section (Squire and drummer Alan White) lays down a stomping, almost march-like groove that provides a solid foundation for the swirling organ.

• Tempo: The tempo is upbeat and energetic (approx. 130 BPM), creating a sense of forward momentum appropriate for the theme of building and moving forward.
• Rhythmic Interplay: There is a notable push-and-pull between the strict, sustain-heavy organ and the staccato, punchy bass lines. This rhythmic friction generates the song's high energy.

Rhyme Scheme: The lyrics follow a fairly regular rhyme scheme, often AABB or ABAB, which contributes to the song's anthem-like catchiness. For example: "higher"/"fire" and "heart"/"start" (implied). This simple, direct rhyming structure reinforces the song's accessible, pop-rock sensibility within a progressive framework.

Musical Techniques:

• The "Squire" Bass Sound: The song is driven by Chris Squire's Rickenbacker bass, played with a pick to achieve his signature trebly, growling tone. It functions almost as a lead instrument, carrying the melody alongside the vocals.
• Cathedral Acoustics: The use of natural church reverb on the organ gives the track a massive, "wall of sound" quality that no studio effect could replicate at the time. Wakeman utilizes the full register of the pipe organ, providing a thunderous low end and piercing high notes.
• Polyphonic Texture: The arrangement is dense, with Steve Howe's electric guitar weaving intricate, blues-rock inspired licks in and out of the rigid organ chords, creating a complex interplay between the rigid classical structure and loose rock energy.

Literary Techniques:

• Imperative Voice: The lyrics often use the imperative mood ("Hear me when I say," "Parallel our sights"), giving the song the feel of a sermon or a rallying cry.
• Juxtaposition: The lyrics contrast "rights and wrongs" and "young and old," emphasizing the inclusivity of the message.

"Parallels" occupies a unique space in the Yes canon. While not a radio hit on the scale of "Owner of a Lonely Heart" or "Roundabout," it is revered by fans as one of the definitive "Chris Squire songs" in the band's history.

• Live Staple: It was a centerpiece of the Going for the One tour and was famously captured on the live album Yesshows (1980), where its arena-filling sound was fully realized.
• The "Pomp Rock" Blueprint: The song helped define a specific sub-genre of "pomp rock" or "arena prog," blending classical instrumentation with rock aggression. It influenced how synthesizers and organs were used in rock contexts to achieve a "larger than life" sound.
• 2003 Remaster: The 2003 Rhino remaster revived interest in the track by cleaning up the sonic mud of the original mix, allowing the separation between the remote-recorded organ and the studio band to be heard with unprecedented clarity, cementing its status as an audiophile favorite.

The lyrics and instrumentation of "Parallels" are rich with symbolic dualities:

• The Parallel Lines: The title serves as the primary symbol. Geometrically, parallel lines never meet, but in the context of the song, they represent alignment. It suggests that individuals can retain their unique identities (separate lines) while moving in the exact same direction toward a common goal. It reframes unity not as merging into one blob, but as harmonious co-existence.
• The Church Organ vs. The Bass: Musically, the song symbolizes the marriage of the sacred and the secular. The church organ (sacred, heaven-bound, vertical) contrasts with the driving, gritty bass guitar (secular, earth-bound, horizontal). Their union creates a "cross" of sound, symbolizing holistic power.
• The Shining Tower: This represents a beacon of hope and achievement. It alludes to the Tower of Babel—humanity striving to reach the heavens—but recontextualized as a positive, spiritual endeavor of "new love" rather than hubris.
• "Playing with Fire": A metaphor for dangerous or shallow pursuits of happiness that ultimately burn the seeker, contrasting with the cooling, healing realization of the "heart."

Lyrical Hooks:

• "It's the beginning of a new love": This phrase repeats throughout the chorus, serving as the emotional anchor of the song. It reinforces the theme of renewal and optimism.
• "Parallel our sights / heights": The repetition of the word "Parallel" acts as a command for alignment. It turns the title into an action verb, urging the listeners to synchronize their visions.

Musical Motifs:

• The Organ Introduction: The majestic, descending organ riff that opens the song establishes a motif of grandeur that returns throughout the track, signaling moments of high intensity.
• The Bass Riff: Squire's driving eighth-note bass line acts as a rhythmic motif, a constant pulse that propels the song forward regardless of the melodic changes above it.