A nightmare is two bassists on stage.

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

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.

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 think it was 'Tales of Topographic Oceans' on 8-track that was the funniest thing because it would fade out in the middle of a song and fade back in again, and when the tracks change, it was quite amusing.

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.

It depends on various things like if the promoters want to have a break so they can sell more T-shirts and booze, then they ask if we can do an interval. I personally prefer not to do that. Once you get onstage, I like to stay there.

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.

'90125' was our biggest-selling album worldwide.

The way Yes works is when we have a new member come in, as in Jon Davison, it's appropriate that we see what differences we can get out of a new contributing member in order to keep Yes interesting.

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.

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.

'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 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.

People are used to us being onstage for a while.

Over the years, Yes actually made 20 albums of original studio material.

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.

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.

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

We started Yes as a vehicle to develop everyone's individual styles.

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

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

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

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

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.

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.

Touring is a tough business.

The idea of 'Yes on Broadway' has come up. It would reflect the history of Yes.

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.