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

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.

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.

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.

We've never been to Israel. I'd like to play in Israel.

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.

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.

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.

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.

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.

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

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.

The fact I've been in every lineup of Yes has been more by default than design.

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.

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

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

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

'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.

'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.

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

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.

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.

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.

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.

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

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.

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.

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.

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.

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

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.

Steve Hackett is a very underrated writer and actually a very good singer.