I've never had a relationship with a record executive. I always went to the record company by someone that liked my playing. Then they would get fired, and I'd be left with the record company. And then - because they got fired - the record company wouldn't do anything for me.
There's the push and pull you put on yourself and the push and pull the world puts on you. Most of the time, the world's going to win out, because it's just logical that you should be more successful and more motivated. You can always be more.
I've always wanted to push someone who's not really known but has mad talent. I don't know if I'm going to do a publishing company or a record label, but I'm interested in pushing artists in any sense.
Most artists have contracts directly with the record company, and when they do music, all of their music is owned by the record company. But I did mine through a production company.
I think that the most significant, guiding principle was that we wanted to return to a three-piece live form, whereas we became a four-piece for the last record because the songs had more extensive arrangements and we needed a keyboard player to pull off a lot of those songs. We missed the energy, and more push-and-pull of the three-piece.
I always pull over for people who need a push.
When I was a teenager, I did a lot of pull-ups and push-ups. Every night before bed, I'd do 150 - in sets of 30 or so. Looking back on it now, I'm not totally sure that's the best way to improve as a climber. But it did make me a lot better at doing pull-ups and push-ups.
If you want to know everything about the market, go to the beach. Push and pull your hands with the waves. Some are bigger waves, some are smaller. But if you try to push the wave out when it's coming in, it'll never happen. The market is always right.
If I want to do an orchestral record, if I want to do an acoustic record, if I want to do a death-metal record, if I want to do a jazz record - I can move in whichever direction I want, and no one is going to get upset about that. Except maybe my manager and my record company.
No record company in the world would say, 'We're not promoting if you keep calling somebody a snitch.' They know what makes money. A record company would never be that stupid. Ever.
I had a good record company right from the beginning, and I'm still with them after all these years. I think I may be the only person in the world that's had a tenure this long with any record company.
Do not let any record company disturb your creative flow. You are not writing for the record company. You're writing for the public.
I don't have to worry about what the average record company person thinks because I am the record company person.
When you are doing music videos through the '90s, which I did, and the 2000s, you were put in the position, really, as an independent filmmaker. You were being financed by a major record company or a minor record company or whatever.
We always push the boundaries on the styles we put on a record.
When I'm in the gym, I always try and pair a push and a pull motion. I'll then follow that with a lot of shoulder stability work.