You're only as big as your last hit.

Pull the good out of it and not worry about the drawbacks.

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.

You're only as big as your last hit.

A nightmare is two bassists on stage.

'90125' was our biggest-selling album worldwide.

'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.

'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.

'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.

'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.

'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.

'The Yes Album,' of course, was the album that put Yes' name on the worldwide stage.

After awhile, you start realizing that change is good for you. It's healthy.

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.

Back in the day, the album was king in many ways. And, of course, we were very tied in with the birth of FM/college radio in the States, and what we were doing suited the format of those young radio stations.

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.

Being called a 'music legend' is a very funny thing. It's nice to know that my work has been appreciated and that people have given me that status. On a personal level, however, I can't think about it too much. It means a lot... but then it doesn't.

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.

I couldn't get session work because most musicians hated my style.

I do have a vague recollection of reviving the cover of The Beatles' 'Every Little Thing,' but I don't know if that was just our riffing on it in rehearsal. I don't think we ever did it actually in the show.

I guess I've become very accustomed to playing in the 7/4, which is something we've done quite a lot.

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.

I have never played anything live - except for a few special occasions - from 'Fish Out of Water.'

I hope, after I'm gone, there will still be a Yes.

I learned to do a few tricks that other people hadn't done before. I developed that trebly bass thing a little further.

I like the Foo Fighters a lot - apart from them being friends of mine as well. They're definitely a fantastic live act to see: so much energy and possibly even bigger in Europe than they are in the U.S., and that's great.

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 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.

I think I'll not attempt to do a 'Fish Out Of Water 2.'

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.

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.

I think the first three Rickenbacker basses were imported around 1964. Pete Quaife, the bassist for The Kinks, bought one. Then John Entwistle from The Who bought one. As for the third one, I asked the manager of the store if I could get an employee discount. He said I could, and so I picked up that one.

I think what the story of Yes has been is we've wandered in and out of different styles over the years.

I thought, 'Wow, if we could have a career that was five or six years long, that would be fantastic.' And, of course, never even thinking it would still be something I'd be doing in 45 years.

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.

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 wouldn't object to working with any former member of Yes, really.

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.

I've been called the journeyman. It's really more by default than it is by design.

I've had to replace parts in the basses when they've gotten old or worn out, so everything isn't absolutely original.

In a way, that's always been Yes' history to a large extent! Quite a few occasions when we've had a new band member or change in members, then we've done a new album with new chops and refreshed the musical approach.

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.

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.

It depends on various things like if the promoters want to have a break so they can sell more T-shirts and booze, then they ask if we can do an interval. I personally prefer not to do that. Once you get onstage, I like to stay there.

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.

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.

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.

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.'

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.