From Andy Hill: Hi Chris, how was the concert with Led Zeppelin?
Chris: It was a crazy night with every celebrity with their dog backstage. But apart from that, the piece that I was playing with Keith Emerson, Alan White, and Simon Kirke - ELP's Fanfare for the Common Man - we did that, and we did it a lot better than we had done at the previous day's rehearsal. We had about 8 brass players with us as well. It was real good.

From Keith Johnson: Do you ever see yourself working with Keith Emerson again?
Chris: Yeah, sure - we'd like to after that experience. That project was definitely a good experience for both of us, so we wouldn't rule that out.

From Fran Festa: Would you consider doing a book or a layout of your basses on the website, along with detailed info or pics?
Chris: That sounds like a very reasonable idea. One problem I have with that is that my basses are in different locations - in different parts of the world at the moment, so it may take a little pulling together.

From Eddie from Honolulu: Aloha Chris! Back in 2002, shortly after John Entwistle passed away, if the Who invited you to be their full time bass player, would you drop Yes to join the Who?
Chris: (laughing) I would have happily filled in if I'd been asked. However, Pino is doing a good job - he's really not the same kind of bass player that John was. I've seen them recently in London and I think he's a lot more acclimated to the gig now, and I wouldn't have given up my day job.

From Raul Hernandez: If Yes does another tour, what are the chances of Drama, Tormato, and rarely heard material played?
Chris: Drama is a difficult one, because that one used a different lead vocalist - Trevor Horn did lead vocals on that, and Jon hasn't expressed a desire to maybe do Tempis Fugit or others from Drama, but in all practicality it hasn't happened yet. But yes, I am open to looking at doing material from any of our albums.

Raul asks another: In the studio, do you ever plug in direct? If not, which amps do you use in the studio and why?
Chris: Most recording engineers like to take it direct. That's just a habit that recording engineers have. Of course i've done things like that, but usually I like to fire up the amplifiers in the studio and play with a live tube sound.

From Eddie Hoffer: In concert it looks like your vocal mic is a SM-57. Any reason you like that mic?
Chris: I thought you said Eddie Offord - okay... yeah, I like the Shure 57. It's one I like to work with, and it was good enough for Frank Sinatra.

From Gail in Arkansas: Can you tell me what your inspiration was for Onward, on the Keys to Ascension album?
Chris: Well originally that song was for Tormato. It was a tune that I'd written in Switzerland during the time we were there recording Going for the One. I guess I was just in Switzerland, sitting down at the piano, and was inspired to write those lyrics.

From Brian Harris: I've always felt that On The Silent Wings of Freedom really showcased your playing, yet other than briefly on the Tormato tour, or snippets during White Fish, it hasn't been played live. Any chance of substituting it for Heart of the Sunrise on the next Yes tour?
Chris: Well I don't know about substituting it for Heart of the Sunrise, they're quite different songs. Silent Wings of Freedom...it has quite a lot of sections to it. It sort of changes from being one thing in the first half of the song to a more complex type of arrangement at the end. It's fairly complicated. It may be because we're a just a little bit lazy and we'd shy away from it. Not to say we couldn't do it - but okay, I'll take that under advisement.