I began the process of recording myself seriously in the fall of 1999. If I could finish an album of my own music, I would. Five years later I am happy to say I have.

I began the process of recording myself seriously in the fall of 1999. If I could finish an album of my own music, I would. Five years later I am happy to say I have.

We got a chance to go and play in some places that the usual European tour by an American band didn't go to.

I finished the recordings I had started with Eleven. Matt Cameron joined for the rest of those sessions.

I remember a tour where we played 50 cities in 56 days. We also went to Europe a couple of times.

"Yield" was completed in 1997 and released in 1998. In the spring of 1997, I had made a decision to stop taking medications that I had been taking daily since 1988.

After wrestling with myself for six months, I began medical treatment. During that time I started a band with some friends of mine called Jack's Car, but that didn't last.

It was about this time that I began experiencing the beginnings of my battles with an anxiety disorder. We were touring a lot and there were some developing personal problems within the band.

I could not finish the rest of the tours the band had planned. I was replaced by Matt Cameron. The next years of my life were about recovery, healing, and right living. I never lost the need to create.

I began both auditioning with Pearl Jam and recording for Eleven. In the fall of 1994, I joined Pearl Jam.

I remember wearing overcoats, hiding in the bushes outside of Abbey Road Studios, waiting for the traffic to clear. As it did, we would drop our overcoats and run out on to the cross walk and strike our poses.

I had wanted to play drums since the age of 9 when I saw a drum set in the window of a music store for the first time. We took lessons at a local music school and began playing together after about 6-9 months of lessons.

I began hearing rumors of apossible recording session with Neil Young. I was a huge fan of Neil's.

We were playing a small club in San Diego and the power had gone out in the building. Eddie had a lighter and kept us lit backstage. We became very good friends and spent a lot of time together including hearing Eddie sing in some of the bands he was in at the time.

In January of 1995, my family and I moved to Seattle. Pearl Jam did the first of their live radio broadcasts, Monkey Wrench Radio, along with many other Seattle musicians.

We completed and released "No Code" in 1996. We began some off and on touring for that release.

'Yield' was completed in 1997 and released in 1998. In the spring of 1997, I had made a decision to stop taking medications that I had been taking daily since 1988.

We completed and released 'No Code' in 1996. We began some off and on touring for that release.

When you use music to worship you are not attempting to entertain.

Pop music, disco music, and heavy metal music is about shutting out the tensions of life, putting it away.

When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.

You've got to realize. In the western world, regardless of what color you are, what title the music is, it's all played by the same notes.

Don't make music for some vast, unseen audience or market or ratings share or even for something as tangible as money. Though it's crucial to make a living, that shouldn't be your inspiration. Do it for yourself.

Whether I'm doing music or I'm walking down the street or I'm in a record store buying a record or I walk into a comic store and I'm buying comics or having a drink with my friends, it's the same me.

When rock came along the lyrics and melodies became less important and it bothered me to think that perhaps they might not regain the value they have to music - they are music.

I want to promote poetry to the point where you got all the baldhead kids running around doing poetry, getting the music out of the way and having only words, the spoken word, and then see what happens.

There is no music that can't be used politically, but the motives behind the creation of that music can be non-political.

The kind of music or the kind of arrangements that I do, the kind of musicians I choose, is just what I like to hear.

If not for music, I would probably be a very frustrated scientist. It's one way to answer the question, 'What is the meaning of life?' I feel music answers it better.

Since I'm allergic to various things, the army wouldn't accept me during the war, and I got into the Office of War Information, which sent music to Europe.

My singing is my hobby. It's me and my brother. We just enjoy writing music.

I was determined to carve out a music of my own. I didn't want to copy anybody.

I have tried to make the music a bit easier for them to understand.

What makes my approach special is that I do different things. I do jazz, blues, country music and so forth. I do them all, like a good utility man.

That music and the lyrical aspects of Razorblade Romance is so personal to me that, now with me being grown up a bit and meeting new people and doing new things, it makes me look at the same things I was writing about back in the day through a different colored lens.

The only time I would like to see was the 20s and 30s in America because I love the music and the style and the optimism, I wanted to see New York being built. I wanted to see all that, you know.

My big love was the Beatles. I was more into music.

When we started making electronic music I imagined that the reaction we got from the rock musicians must have been similar to the one the beat groups got from people like my dad.

Uhm, I'm the one wanting the lessons! I don't want to say too much about it because I'd rather have you see the movie, but he's trying to find his music.

The value of music is to be able to play one note at the right time in the right way.

Younger players in this music often turn out to be middle aged; it is not a young music.

There's an inherent thing in me where, if things are going too smooth, I'll sabotage the hell out of them, just to make the music more of a sanctuary.

To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.

We used to listen to all the marvelous operas on records. Music was a very important part of our lives.

Drums just always sounded like the most fun part of that good music for me.

Record covers helped me discover a lot of music that I wasn't aware of.

It was very interesting for me because DNA made music without much technical knowledge at all.

So it was out of necessity that Blackheart was born. I think it's great that now, 25 years later, we're not only putting out our own music, but are able to put out music by other bands. That's really exciting for us.

Instrumental music is increasingly marginalized and there's just no outlet, there's no venue for it, in terms of media.