Steve Howe met Paul Simon and said that Paul was very approving of our version of 'America.'
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.
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.
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.
Pull the good out of it and not worry about the drawbacks.
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.
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.
I've been called the journeyman. It's really more by default than it is by design.
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.
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.
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.
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.'
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.
The Beatles had a six-year career, from 1963 to 1969, which - to me, in my early 20s - seemed like a phenomenally long time.
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.
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.
Touring is a tough business.
