The other guys and myself have agreed that Billy Sherwood will do an excellent job of covering my parts, and the show as a whole will deliver the same Yes experience that our fans have come to expect over the years.

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

A nightmare is two bassists on stage.

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.

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.'

On our studio album 'Fly From Here' in 2011, we spent a year and a half promoting that around the world.

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.

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

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.

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.

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.

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.

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.

Persistence is a pretty important part of making it in this business, which, in retrospect, is the easy part. Maintaining a profile is the difficult part of the job. Somehow or another, I muddled through that system and somehow am around to still enjoy playing for people.

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.

'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.

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

You can't ever really replace Jon Anderson because he's been such a force in the music business.

The Beatles had a six-year career, from 1963 to 1969, which - to me, in my early 20s - seemed like a phenomenally long time.

With how huge Yes was, especially in the '70s and '80s, as a touring band and actually playing at the JFK Stadium in Philadelphia to 130,000 people, which is the biggest-paying show ever in rock history, you would think we'd done enough for the Rock and Roll Hall of Fame.

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

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

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