I think, in music, you're always hoping that you'll have a like-minded audience and that the music you like making will appeal to them, too.

If drummers are 'anti-solo,' that's up to them. They're musicians, and they can play whatever they want. But my inspirations early on were people like Buddy Rich, seeing him on 'The Tonight Show', or Gene Krupa.

When I started playing, I played in R&B bands. I played James Brown, Wilson Pickett, Otis Redding and all that.

It's interesting. I've known quite a few good athletes that can't begin to play a beat on the drum set. Most team sport is about the smooth fluidity of hand-eye coordination and physical grace, where drumming is much more about splitting all those things up.

Rudimental snare work is something I've always loved.

There is no blood in jazz drumming, and there are no bullies in jazz drumming.

I sang the hymns, and I read the Bible stories, but I was always perplexed, like, 'Really? Jesus wants you for a sunbeam? For a what?'

The government's only functions are to protect the rights of the individual; therefore, you need a police force and an army.

When I was young, my ambitions were very modest. I thought, 'If only I could play at the battle of the bands at the Y, that would be the culmination of existence!' And then the roller rink, and you work your way up branch by branch.

Ever since I was a kid, I always wanted to play music that I liked, and even when I was in cover bands when I was a teenager we only played cover tunes that we liked. That was the simple morality that I grew up with.

For me, drum elements are like hieroglyphics - I think of a certain physical figure, and a little three-dimensional glyph will appear in my mind as I'm playing.

People don't realize the limitations of 200 words, and the way they get chiselled down into a song that has to be sung.

Drumming completely eclipsed my life from age 13, when I started drum lessons. Everything disappeared. I'd done well in school up until that time. I was fairly adjusted socially up until that time. And I became completely monomania, obsessed all through my teens. Nothing else existed anymore.

Now I call myself a bleeding heart libertarian. Because I do believe in the principles of Libertarianism as an ideal - because I'm an idealist.

I don't like lyrics that are just thrown together, that were obviously written as you went along, or the song was already written and the guy made up the lyrics in five minutes.

I'd be very honored to be the ambassador to drum solos.

We don't want to be Mick Jagger and the Rolling Stones. That type of thing wasn't what we were after. It was most important for each of us to be equal in input and output - each of us has to pull the same amount, musically, in composition and in every sense of being in the band.

I try not to repeat myself in fills in all the Rush songs unless it is something simple or something I feel is my own characteristic thing.

I had spindly little ankles, and growing up in Canada, I couldn't skate. I was no good at any sports so was very much a pariah through those adolescent years.

I expect if you're a professional public speaker, you probably wouldn't want to go onstage and sing and play drums.

The thing for me about Ayn Rand is that her philosophy is the only one applicable to the world today - in every sense. If you take her ideas, then take them farther in your own mind, you can find answers to pretty well everything on an individual basis.

The real test of a musician is live performance. It's one thing to spend a long time learning how to play well in the studio, but to do it in front of people is what keeps me coming back to touring.

If I have to travel, I'm going to travel my way and travel in the real world. And I'm going to have conversations every day with people in rest stops and people in gas stations and people in hotels and diners. That nourishes me.

It astonished me in the early Nineties to suddenly have musicians admit that they had been inspired and influenced by us. That meant a lot at that time. But of course, being human, the... disrespect isn't even strong enough a word, is it? The opprobrium was painful. Being popular and hated is not satisfying.

The Seven Cities of Gold always fascinated me. Southwestern U.S. history especially fascinates me. The whole spur of the Spanish exploration of the Southwestern U.S. was the search for these mythical Seven Cities of Gold.

People say to me, 'Are you still excited when you go on tour?' Should I be excited about leaving my family? No, and no one should. It's as simple as that. If you put aside the fantasy of it, it is what it is and has to be done. And that's fine, and I pour my entire energy and enthusiasm into it, but of course, I'm of two minds about the whole idea.

I think, in music, you're always hoping that you'll have a like-minded audience and that the music you like making will appeal to them, too.

It was actually drumming that gave me the stamina to get into sports later. I started playing drums at 13, and when I got to the international touring level... I got interested in cross-country skiing, long-distance swimming, bicycling... things that require stamina, not finesse.

I am the audience. I want to observe people. Even when I'm playing drums onstage, I'm watching people. I'm looking at them and their faces and their T-shirts and their signs. And travelling by motorcycle, especially, the world is just coming at me.

To get nostalgic about other people's music, or even about your own, makes a terrible statement about the condition of your life and your prospects for the future. I have no patience with that kind of attitude, whether it's on radio or among friends.

For a person of my sensibility, you're only left with the Democratic party.