Quotes of All Topics . Occasions . Authors
Touring is a tough business.
A nightmare is two bassists on stage.
People are used to us being onstage for a while.
'90125' was our biggest-selling album worldwide.
I think I'll not attempt to do a 'Fish Out Of Water 2.'
Pull the good out of it and not worry about the drawbacks.
The great thing about Yes is that it has always been flexible.
I couldn't get session work because most musicians hated my style.
I wouldn't object to working with any former member of Yes, really.
We started Yes as a vehicle to develop everyone's individual styles.
Over the years, Yes actually made 20 albums of original studio material.
Steve Hackett is a very underrated writer and actually a very good singer.
After awhile, you start realizing that change is good for you. It's healthy.
The fact I've been in every lineup of Yes has been more by default than design.
The idea of 'Yes on Broadway' has come up. It would reflect the history of Yes.
I've been called the journeyman. It's really more by default than it is by design.
'The Yes Album,' of course, was the album that put Yes' name on the worldwide stage.
I would work with Trevor Horn any day of the week. I have a great relationship with him.
Steve Howe met Paul Simon and said that Paul was very approving of our version of 'America.'
You can't ever really replace Jon Anderson because he's been such a force in the music business.
I have never played anything live - except for a few special occasions - from 'Fish Out of Water.'
Of course, Paul McCartney's sound is different from mine, but it's the way you hear things, really.
I guess I've become very accustomed to playing in the 7/4, which is something we've done quite a lot.
I think what the story of Yes has been is we've wandered in and out of different styles over the years.
On our studio album 'Fly From Here' in 2011, we spent a year and a half promoting that around the world.
I like working with modern sounds in the studio as much as I'm happy to work with a basic rock n' roll format.
I've had to replace parts in the basses when they've gotten old or worn out, so everything isn't absolutely original.
I learned to do a few tricks that other people hadn't done before. I developed that trebly bass thing a little further.
All movies, when they're about the music business, tend to have a bit of a wide latitude in terms of how things really were.
The Beatles had a six-year career, from 1963 to 1969, which - to me, in my early 20s - seemed like a phenomenally long time.
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.
'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.
I was a big Who fan when I was 15, 16 years old, and I used to go watch them play at the Marquee Club in London as often as I could.
Jon Anderson and I, we really liked a lot of classical music, and we wanted to get some orchestral arrangements going on 'Time And A Word.'
In many ways, I think about the possibility that there could still be a Yes in 100 or 200 years from now, just like a live symphony orchestra.
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.
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.
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.
'Close to the Edge' is the album where we first attempted to do the extra-long-form piece of music, having one song taking up the whole side of a piece of vinyl.
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.
'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.
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.
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.
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.
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.
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.
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.
I really believe that the aliens are us from the future. It seems to me a very plausible reason that explains a lot of phenomena as opposed to green men with one eye from outer space.
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.
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.