When we played with the Rollins Band, we'd keep songs going until we felt like ending it.

I'm not into solos, I'm into lyrics.

I think putting labels on people is just an easy way of marketing something you don't understand.

I use Gibson guitars; I prefer the Les Paul custom.

I'm a bass player from way back and Paul is a guitar player and we've been in many bands.

I think people like Steve Vai are so boring.

All the art for Tool is done by the me and the band.

The Melvins are grunge.

If you become addicted and a junkie, well, that's your fault.

I'm not a good guitar player.

We have meetings with our record label to tell them how to market us.

My approach is to be part of a band that makes music, not hit songs.

We're more into expressing ourselves than making radio hits.

I mean, Tool has a style, but we try to make all our songs sound different from each other.

I seriously do not think Nirvana is grunge.

That's the thing I like about my sound. It's real raw and very unsafe compared to a solid state kind of sound.

But if you want to be in a band and write music, then you should just be in a band and write music.

I personally don't like to use as many effects because when you play live, something always goes wrong.

With four perfectionists in the band, we have a hard time reaching perfection.

I have a record company starting. It's called Flesh Records and I'm putting together music for porno movies.

I haven't listened to much music lately; I've been out of it.

If I play anything that sounds like a solo, it's gonna sound like a lyric.

I'm not a geek about equipment, I just know what I like.

I'm my own worst critic and I think everyone in the band is a perfectionist.

I've never worried about how long the song is.

As far as the grunge thing, there are three bands from Seattle that I would call true grunge.

Doing the stereotypical solo bores me.

I listen to Helmet - and I love Helmet, they're a great band - but every song sounds the same.

We could have gone with much bigger labels and more money, but we wanted to go with a company that is LA based, all in the same building, and really understands what the artists want.

When we played with the Rollins Band, we'd keep songs going until we felt like ending it.

I've always dabbled on guitar, but never took lessons.

That's what I love about our music - it'll never be a hit because you can't dance to it.

I played violin and got into that Suzuki program in the second grade.

We wanted to take as much time and effort making the video as we did the song.

Many of the songs on Undertow were written at the time Opiate came out.

Different people get different things out of the images. It doesn't matter what it's about, all that matters is how it makes you feel.

As far as the grunge thing there are three bands from Seattle that I would call true grunge.

It is always easier to label than understand.

You are not a beautiful, unique snowflake... This is your life, and it's ending one minute at a time.

Pakistan has made no mention of ending our tests. We have a missile program, and it is in the national interest whatever we want to do.

Death doesn't frighten me; now I can think peacefully of ending a long life.

Love is life's end, but never ending. Love is life's wealth, never spent, but ever spending. Love's life's reward, rewarded in rewarding.

To come up with the ending to a story and then work backwards is like tying your shoe with one hand only.

I caution against beginning or ending a quotation with ellipses.

We expect President Bush to implement his own vision of a two-state solution, the birth of the Palestinian State and the ending of the occupation that started in 1967.

It's precisely the disappointing stories, which have no proper ending and therefore no proper meaning, that sound true to life.

I like to compare the holiday season with the way a child listens to a favorite story. The pleasure is in the familiar way the story begins, the anticipation of familiar turns it takes, the familiar moments of suspense, and the familiar climax and ending.

What then is tragedy? In the Elizabethan period it was assumed that a play ending in death was a tragedy, but in recent years we have come to understand that to live on is sometimes far more tragic than death.

The principle of the endless melody is the perpetual becoming of a music that never had any reason for starting, any more than it has any reason for ending.