Top 45 Chris Squire Quotes

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

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

People are used to us being onstage for a while.

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.

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.

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

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

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.

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.

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’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 have never played anything live – except for a few special occasions – from ‘Fish Out of Water.’

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.

Of course, Paul McCartney‘s sound is different from mine, but it’s the way you hear things, really.

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

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

‘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.

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.’

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.

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.

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.

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.

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

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.

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.

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

You’re only as big as your last hit.

‘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 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.

‘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.

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

‘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.

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

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.

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

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.

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.

A nightmare is two bassists on stage.

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.

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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