Chris Squire Quotes
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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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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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I wouldn't object to working with any former member of Yes, really.
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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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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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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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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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'90125' was our biggest-selling album worldwide.
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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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I've been called the journeyman. It's really more by default than it is by design.
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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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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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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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Over the years, Yes actually made 20 albums of original studio material.
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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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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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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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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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The great thing about Yes is that it has always been flexible.
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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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People are used to us being onstage for a while.
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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.
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'Close To The Edge,' we actually had played it from beginning to end before we recorded it in the studio. So we knew how long it was, and we knew it would fit on the album fine, so we didn't do any editing.