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© Rob Shanahan
“This is a song that really echoes the feelings of the Devon countryside where we were rehearsing. Jon was looking out at the scenery, and he just said, ‘There it is – perpetual change.’
“I just worked on the song with Geoff Downes, and when we looked at it, we realized that there’s only a few structures to it, but they come in different ways and with different irregularities, and they come together in a battle in the middle.
“How we started on the song was, we started on the fragility of ‘I see the cold mist in the night and watch the hills roll out of sight,’ and we build, getting some nice, jazzy chords in there. But returning as we do to the intro, it’s kind of very anthemic. Of course, it’s rocky too. We were doing it all very well. Then the monster bit happens in the middle. It’s going to be good fun playing the song on stage soon.
“I played the ES-175 on this as well – it’s on Good People, Disgrace, Starship Trooper and A Venture – but at the end of this song, I played an Antoria. Or it might have been a Guyetone. It was definitely one of the two. They looked the same. One was a copy of the other one, but I never really worked out which came first.
“The song is joyful, and it ends the album on such a nice note. Once again, it gives people the signal that Yes can be kind of classical.”