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In many ways, I think about the possibility that there could still be a Yes in 100 or 200 years from now, just like a live symphony orchestra.
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All movies, when they're about the music business, tend to have a bit of a wide latitude in terms of how things really were.
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'Close to the Edge' is the album where we first attempted to do the extra-long-form piece of music, having one song taking up the whole side of a piece of vinyl.
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Jon Anderson and I, we really liked a lot of classical music, and we wanted to get some orchestral arrangements going on 'Time And A Word.'
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It depends on various things like if the promoters want to have a break so they can sell more T-shirts and booze, then they ask if we can do an interval. I personally prefer not to do that. Once you get onstage, I like to stay there.
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'The Yes Album,' of course, was the album that put Yes' name on the worldwide stage.
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The fact I've been in every lineup of Yes has been more by default than design.
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I think I'll not attempt to do a 'Fish Out Of Water 2.'
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The Seventies were just an interesting time for us because we were building the brand of the name but also varying the style of the music on each of the albums we did. Very creative time of us.
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After awhile, you start realizing that change is good for you. It's healthy.
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I've always been a great believer that you have to keep producing new things in order to keep life interesting - not only for ourselves, but for the audience as well. That's really always been our principle and way of working.
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'Drama' was put together quickly; there were a lot of intense, 16-hour days. Despite the pressure, it was a lot of fun, and the end result was an album I'm very proud of.
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Not many people know this, but when Yes first started doing club dates back in 1968, '69, we did a few tracks from 'The Magic Garden' album in our set. We just loved the harmonies that the 5th Dimension had as well.
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With how huge Yes was, especially in the '70s and '80s, as a touring band and actually playing at the JFK Stadium in Philadelphia to 130,000 people, which is the biggest-paying show ever in rock history, you would think we'd done enough for the Rock and Roll Hall of Fame.
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We've never been to Israel. I'd like to play in Israel.
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Being called a 'music legend' is a very funny thing. It's nice to know that my work has been appreciated and that people have given me that status. On a personal level, however, I can't think about it too much. It means a lot... but then it doesn't.
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Pull the good out of it and not worry about the drawbacks.
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Most popular records are action-packed to the last semi-quaver.
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Yes's whole career was never really planned in any sort of way. It's always sad when a member leaves, but it's exciting when someone new comes in, and that regenerates the freshness of the band.
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You're only as big as your last hit.
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A nightmare is two bassists on stage.
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I've had to replace parts in the basses when they've gotten old or worn out, so everything isn't absolutely original.
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I learned to do a few tricks that other people hadn't done before. I developed that trebly bass thing a little further.
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The way Yes works is when we have a new member come in, as in Jon Davison, it's appropriate that we see what differences we can get out of a new contributing member in order to keep Yes interesting.