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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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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I think partly the problem with Yes - and I've had this discussion with people from the Hall of Fame in the past - is that it's going to be difficult to decide how many of the members of Yes you're gonna put in it and how many you're not because of the extensive membership of the band through the years.
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After awhile, you start realizing that change is good for you. It's healthy.
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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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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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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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'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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You're only as big as your last hit.
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Most popular records are action-packed to the last semi-quaver.
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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 idea of 'Yes on Broadway' has come up. It would reflect the history of Yes.
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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 band will be going along, and somebody or another will say, 'I want to go off and do a solo career.'... They come back, and other people come in.
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Pull the good out of it and not worry about the drawbacks.
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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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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.
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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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'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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The flukey part of it is, back in the early days, I had that guitar decorated with all kinds of crap wallpaper, 'Flower Power' - then that got all shaved off. And during the course of cleaning the bass up again, some of the wood got shaved down, and it probably became a lighter body than the stock factory model.
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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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There's been talk of YES possibly doing something on Broadway in New York. People have approached me with that idea, and there are discussions about that.
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I wouldn't object to working with any former member of Yes, really.