Chris Squire Quotes
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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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I couldn't get session work because most musicians hated my style.
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Usually, when we go out, it's because we made a new studio album, and that becomes the focus of the tour throughout the world for a year or so.
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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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It's always a little more difficult after taking a few years off, which we did from 2004 through 2008. It's more difficult to get the machine in gear again, but when you become used to it, then it becomes easier.
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Pull the good out of it and not worry about the drawbacks.
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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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The idea of 'Yes on Broadway' has come up. It would reflect the history of Yes.
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You're only as big as your last hit.
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After awhile, you start realizing that change is good for you. It's healthy.
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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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Most popular records are action-packed to the last semi-quaver.
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I thought, 'Wow, if we could have a career that was five or six years long, that would be fantastic.' And, of course, never even thinking it would still be something I'd be doing in 45 years.
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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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'Onward' was a song I wrote in Montreux, in Switzerland, when we were there camping out for the whole winter. In the summer, Montreux is a really, really big summertime-touristy, full-of-life kind of place. In the winter, it closes down.
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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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The other guys and myself have agreed that Billy Sherwood will do an excellent job of covering my parts, and the show as a whole will deliver the same Yes experience that our fans have come to expect over the years.
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I wouldn't object to working with any former member of Yes, really.
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Persistence is a pretty important part of making it in this business, which, in retrospect, is the easy part. Maintaining a profile is the difficult part of the job. Somehow or another, I muddled through that system and somehow am around to still enjoy playing for people.
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'Fragile,' of course, was a very successful album for us, especially here in the States. It had a lot of solo pieces on it, though.
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I think it was 'Tales of Topographic Oceans' on 8-track that was the funniest thing because it would fade out in the middle of a song and fade back in again, and when the tracks change, it was quite amusing.
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Strangely enough, 'I've Seen All Good People' is, I think, the second most played Yes song on American radio after 'Owner Of A Lonely Heart.' And then I think 'Roundabout' is third.
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Everyone enjoys downtime at home, I'm sure, for various reasons, but I find the whole system of being out there and doing shows for people - the more of it you do, in fact the more energizing it is, for me individually.
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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.