Country and western is the music of the devil. That's the real truth of the matter. My late Mother, bless her, loved country and western. God, I couldn't handle it.
I bought a racehorse, Tropical Saint, that belonged to the Queen Mother. I used to go down to Banbury and watch him train, but during a televised race, his jockey pulled up and said there was something wrong. They put him in the grass to try and settle him but found him dead in the field.
My eyes are green, and in one of them there is a splash of brown - apparently it is not a colour, but a freckle! Sometimes I notice that one eyelid droops more than the other.
My mother had never had a day's illness in her life and never thought to have checks. Then, at 78, she discovered she had breast cancer and passed away the next year. But if she'd had a check two years before, they could have done something about it, they could have saved her.
People always said that I hated punk, and that really wasn't true. It was glossed over for many years that I was the guy who found the Tubes and signed them to A&M. English punk was a revolution.
There are people who think the film 'This Is Spinal Tap' is simply a very funny 'mockumentary.' Well, with Yes, we lived it. Take the hilarious scene in the film in which the bass player is trapped in a giant pod - that actually happened to Alan one night.
Touring with Yes was generally great fun, and I got on well with the rest of the guys, but we were like chalk and cheese in many respects. I was unique in the band as a card-carrying Conservative.
I was in and out of Yes six times. Someone once likened it to Liz Taylor and Richard Burton's marriage where we couldn't live with or without each other. There's an element of truth, and I last left in 2005.
But I listen to live recordings of things that I did back in the '70s and then how I've done things since. And there's no doubt about it: if I compare the two, it's like chalk and cheese.
But I'd play on everything from pop records to a lot of the glam stuff to rock stuff to classical stuff. I used to get called to do all those things, it was great.
My earliest professional musical experiences were really as a session player, and every day was an adventure. Three sessions a day, every day, and you never knew who you would be working with until you arrived at the studio.
