A Quote by Neil Peart
As crises came up later on - "Oh, we have to compromise, and the record company wants to do this," I'd be like, "No, I don't have to."
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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.
When I was a youngster, I wrote all this music - it just came out of me - and I think record executives were like, 'Oh, wow, he's a genius, let's give him a million dollars!' But the minute I started producing the records, they'd be like, 'Oh, my God, you're terrible! You're all over the place! We can't market this!'
For 'Regulate,' I was at home, and I came up with it. I was listening to Michael McDonald's 'I Keep Forgettin'.' It was a record that I always loved, from being a kid and my parents playing it when they had their company of friends over. It was a record that just stuck in my head, and it just felt good.
We came up with all these crazy ideas that Taylor Swift could be the biggest artist in the world - and it came true - and that we could have five labels and become the biggest independent record company in the world - and it came true.
If you do it first class and you don't compromise values, and you don't compromise quality, and you don't compromise service, and you don't compromise cleanliness, then everybody else who is the competitor has got to play catch-up.
At Pixar, I don't have to compromise at all. When I look at the finished "Toy Story 3," I don't sit and constantly think, oh, the actor was having a bad day, or oh, it rained and we couldn't use that set. The story that I wanted to tell is what is on screen, and I haven't had to compromise it one iota.
When I came out rapping on my record, a lot of people said, Oh, you just want to be like Puff.
If you look at my track record, there was nothing on radio that sounded like 'Oh Carolina,' 'Mr Bombastic' when they came out.
I came up with the idea for what later became Paychex in 1970 when I was working for Electronic Accounting Systems, a company that sold payroll processing to companies with 50 to 1,000 employees.
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.
My contract with mercury PolyGram Nashville was about to expire. And I never had really been happy. The company, the record company, just didn't put any promotion behind me. I think one album, maybe the last one I did, they pressed 500 copies. And I was just disgusted with it. And about that time that I got to feeling that way, Lou Robin, my manager, came to me and talked to me about a man called Rick Rubin that he had been talking to that wanted me to sign with his record company.
After I made 'Oh Carolina' in the 1990s, the record company wanted me to copy that sound, and I refused.
Literally, I kissed a girl, and, like, a week later, she broke up with me. I was like, 'Oh my God, was it that bad?!'
Literally, I kissed a girl, and ,like, a week later, she broke up with me. I was like, 'Oh my God, was it that bad?!'
It's like, it's up to the people to fall in love with the song. The record company can only do so much.
I started passing out the schematics and the code listings for the computer, telling everyone here it is. It's small, it's simple, it's inexpensive: Build your own. No idea to start a company. Steve Jobs came by later and say, you know, people are interested. Why don't we start a company?
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