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

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.

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

The fact I've been in every lineup of Yes has been more by default than design.

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've never been a yes man.

I think the New Aesthetic is a series of observations. I think most of the trouble people have had with it comes from a misunderstanding of it as a movement.

I've always been drawn to the American style in the late '50s and '60s.

As I made my way through 'On Line,' the austere, stridently dogmatic, sometimes revelatory exhibition 'about line' at MoMA, I found myself thinking, 'Someone please wake me when the seventies are over!' In the empire of curators, the sun never sets on the seventies. It is the undead decade.

Maybe some people have written us off, but I think the new music today has also invigorated us.