It's been years and years and years I've been playing the drums, and they're still a challenge. I still enjoy using drumsticks and a snare drum.

I hate leaving home. I love what I do, but I'd love to go home every night.

A lot of our tracks have sounded a lot better than I thought they would because of recording, mixing, and because I probably didn't hear it that way. I'm not a songwriter.

For some reason at 12 or 13, I just heard Gerry Milligan and fell in love with that, whatever it was called.

I think it's an awful drink, to be honest with you.

We always work at least a month to six weeks before we go on the road, usually for something like eight to 12 hours a night. It took six weeks to do it this time. We just play virtually everything we know.

I don't like drum solos, to be honest with you, but if anybody ever told me he didn't like Buddy Rich I'd right away say go and see him, at least the once.

I wanted to play drums because I fell in love with the glitter and the lights, but it wasn't about adulation. It was being up there playing.

People say I play real loud. I don't, actually. I'm recorded loud and a lot of that is because we have good engineers. Mick knows what a good drum sound is as well, so that's part of the illusion really. I can't play loud.

It's been years and years and years I've been playing the drums, and they're still a challenge. I still enjoy using drumsticks and a snare drum.

The world of this is a load of crap. You get all these bloody people, so incredibly sycophantic.

It doesn't really change, actually. I think The Rolling Stones have gotten a lot better. An awful lot better, I think. A lot of people don't, but I think they have, and to me that's gratifying. It's worth it.

I didn't know what the hell Charlie Parker was playing... I just liked the way he played.

When people talk about the '60s I never think that was me there. It was me and I was in it, but I was never enamoured with all that. It's supposed to be sex and drugs and rock and roll and I'm not really like that. I've never really seen the Rolling Stones as anything.

Mick's not good on his own problems, but he's very good at other people's. He's been wonderful over the years. I don't mean I ring him up every week, but he's fantastic.

You need better technique than I have to play jazz, but what you have to do is the same thing, isn't it?

Usually I can hear the pianos, the saxophone, and usually I can hear Ronnie. But I really need to listen to Keith and Mick. The rest of the band is sort of an embellishment to that.

I saw Al Foster with Miles Davis the other week. It was beautiful. But, the whole thing was, Al Foster played as well as everybody else, but all of them were quite brilliant under Miles Davis' direction.

When I was a kid I never learned to play. I actually got in bands through watching people play and copying them.

To be able to play as slow as Al Jackson is almost impossible.

I'm very strict with my packing and have everything in its right place. I never change a rule. I hardly use anything in the hotel room. I wheel my own wardrobe in and that's it.

I don't need to hear Bill to go through a song. I need to hear Keith to go through a song. I know Bill will be playing what I'm playing anyway. I need to hear Keith because it's all there: the time, the chord changes, and all the licks you have to follow.

You'd imagine Mick would be the happiest person in the world, and yet a lot of the times he isn't.

I never had lessons. Used to try to play to records, which I hated doing. Still can't play to them.

Rock and roll has probably given more than it's taken.

I think you get to a point where you watch something just to enjoy it. I don't think it's really done so that you're supposed to feel, Oh, he's the most wonderful drummer. I think the whole lot is what's more enjoyable.

Roosevelt's magic lay in one facet of his personality: He knew how to take the risk. No other man in public life I knew could so readily take the challenge of the new.

To do the Ozzfest again would be great. I'd like to finish with a final Sabbath album. You always feel that it is still a challenge.

People are not perfect... very often the relationships that are strongest are those where people have worked through big crises, but they've had to work through them. So the challenge to us is to work through that.

Every single book is a challenge.

Critics are sentinels in the grand army of letters, stationed at the corners of newspapers and reviews, to challenge every new author.

The lopsided attitudes of college professors pose a serious challenge to learning because students are so susceptible to becoming lopsided sheep.

I really enjoy comedy. It's a real challenge.

I had a hard time with that hockey. I hadn't grown up skating, so that was my biggest challenge. We worked on it and worked on it. But then when we first shot it, it was so hard for me.

The challenge is to practice politics as the art of making what appears to be impossible, possible.

Change can either challenge or threaten us. Your beliefs pave your way to success or block you.

My greatest challenge has been to change the mindset of people. Mindsets play strange tricks on us. We see things the way our minds have instructed our eyes to see.

I'd say that it's important for music to be there that gives you a challenge, that rearranges things in your head.

I like good stories. Quality products and character are what's important. Even if the script isn't that strong, if I challenge myself with a great character, I'll go for it.

I tend to arrive in the rehearsal process with very strongly developed ideas about what I want to do. But I don't like those ideas to be things that are not subject to change, or subject to development, or subject to challenge.

I'm not looking to set a standard... but, I believe I have offered a challenge to others with my work.

If you live a life of make-believe, your life isn't worth anything until you do something that does challenge your reality. And to me, sailing the open ocean is a real challenge, because it's life or death.

And, I'd never done Tennessee Williams, and I had done Broadway musicals, so it was a challenge.

When you remove the risk, you remove the challenge. When you remove the challenge, you wither on the vine.

After Land I wanted to continue exploring the theme but I needed a new challenge so turned to colour. I explored Bradford and produced a series of urban landscapes that I liked, but because Land had made such an impact on the general public my colour work wasn't reviewed.

The worlds I paint leave a lot to engage the imagination by hinting at what lies beyond the four edges of the painting. I think getting beyond the four edges of an opportunity or challenge is one of the basic skills you need in business.

For me, it's a bigger challenge, it's much harder to do and much more rewarding to do well, then just to think up stuff of your own, hit or miss, because you've got to see to it that you don't torpedo any of his punch lines.

This same habitual blindness to spiritual, substantive dimensions of every significant challenge continues to handicap Hollywood.

Every artist has to grow, and has to challenge themselves with a new form of expression.