Chris Squire Quotes
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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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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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In many ways I think 'Fly From Here' is a return to classic Yes; people seem to have been really enjoying it, integrated into the set along with the old material.
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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 was working in a music store in London, and this particular place happened to be the importers for Rickenbacker guitars into England. So I started seeing these basses coming in.
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Because of all the various people who've come in and out and brought along ideas, I've been on a learning curve throughout all these years. Of course, everyone that's been involved has influenced me as well. And I'm grateful for that.
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It's not beyond the possibility that there still could be a YES in 200 years' time... of course with different members, unless the medical profession comes up with something extraordinary.
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Yes is what I like doing more than anything else. Somewhere along the way, as people came and went, it fell to me to kind of keep it going and oversee the spirit of the enterprise, as it were.
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I've been called the journeyman. It's really more by default than it is by design.
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There's always the joy of the performance and fine-tuning new interpretations. Over the years, we've all grown as musicians, so obviously there is a lot of subtlety that wasn't there in the first place.
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We did do the whole of the live suite from 'Fly From Here,' and that was very enjoyable to do. In fact, that is actually our longest piece of music, I think, that we'd ever done.
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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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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 guess the idea of doing albums in their entirety, in sequence, appeals to people. I guess it's the memory of being able to hear the music in the way it was originally presented.
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Look how far the human race has come in terms of air and space travel in the last hundred years. So in the next couple of thousand years, you've got to believe that we're going to be able to do all kinds of amazing things.
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'90125' was our biggest-selling album worldwide.
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Over the years, there have been challenges about who can use our name. It's quite simple: A majority of people left in the band at a certain time own the name. It's not like I'm the guy who has the name under my own contract.
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I know I always worked hard on making sure we came out with the best possible product and of course we were working with four other people, you have to balance that as well.
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It's been a long time since we've been out there playing new material, and we have really enjoyed that. Of course we still enjoy playing the Yes standards as well, but it's great to have a bit of a challenge and pull off new material.
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The great thing about Yes is that it has always been flexible.
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Over the years, Yes actually made 20 albums of original studio material.
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Steve Hackett is a very underrated writer and actually a very good singer.
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We've done very different Yes albums - 11 bars, 13. I think we had something that had 17/4 in it. It's just like anything - the more you do it, the more you have to do it.
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I like working with modern sounds in the studio as much as I'm happy to work with a basic rock n' roll format.