Top 83 Quotes & Sayings by Chris Squire - Page 2

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.

Yes's whole career was never really planned in any sort of way. It's always sad when a member leaves, but it's exciting when someone new comes in, and that regenerates the freshness of the band.

Most popular records are action-packed to the last semi-quaver.

The great thing about Yes is that it has always been flexible.

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 would work with Trevor Horn any day of the week. I have a great relationship with him.

I like working with modern sounds in the studio as much as I'm happy to work with a basic rock n' roll format.

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.

Not many people know this, but when Yes first started doing club dates back in 1968, '69, we did a few tracks from 'The Magic Garden' album in our set. We just loved the harmonies that the 5th Dimension had as well.

'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.

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.

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.

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.

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.

Steve Howe met Paul Simon and said that Paul was very approving of our version of 'America.'

Rick Wakeman and Jon Anderson have rejoined and gone off again and rejoined, but I've been there the whole time, and even though Alan White is the 'new' drummer, he has been there since 1972, so he also deserves the credit for being around for 20 years.

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.'

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.

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

'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.

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

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.