QUOTES by Chris Squire
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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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I would work with Trevor Horn any day of the week. I have a great relationship with him.
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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.
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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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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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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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After awhile, you start realizing that change is good for you. It's healthy.
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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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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.
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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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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.
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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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'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.
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'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.
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'The Yes Album,' of course, was the album that put Yes' name on the worldwide stage.
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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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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.
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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.
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The fact I've been in every lineup of Yes has been more by default than design.
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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.
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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.
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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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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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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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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.
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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.
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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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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.
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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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The idea of 'Yes on Broadway' has come up. It would reflect the history of Yes.
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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.
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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.
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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 I've become very accustomed to playing in the 7/4, which is something we've done quite a lot.
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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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Of course, Paul McCartney's sound is different from mine, but it's the way you hear things, really.
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The Seventies were just an interesting time for us because we were building the brand of the name but also varying the style of the music on each of the albums we did. Very creative time of us.
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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 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.
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