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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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'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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If I was hearing something I couldn't do, I would figure out how to do it.
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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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And I like messing around in the engine room of music. Seeing what happens in the rhythm section area.
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Steve Hackett is a very underrated writer and actually a very good singer.
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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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I think one of the great moments of my life was when I could write musician on my passport.
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I have never played anything live - except for a few special occasions - from 'Fish Out of Water.'
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On our studio album 'Fly From Here' in 2011, we spent a year and a half promoting that around the world.
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So that studio served its purpose, and still is working very well for other people right now.
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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.
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Philly has always been one of our favorite towns to play in, and the fans have been very loyal and very supportive over the years.
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I think what the story of Yes has been is we've wandered in and out of different styles over the years.