'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.
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.
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 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.
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.
Pull the good out of it and not worry about the drawbacks.
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.
You can't ever really replace Jon Anderson because he's been such a force in the music business.
We did do the whole of the live suite from 'Fly From Here,' and that was very enjoyable to do. In fact, that is actually our longest piece of music, I think, that we'd ever done.
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 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.