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I grew up in an era where the record companies just sold records to everybody, and the whole family bought songs.

When it all started, record companies - and there were many of them, and this was a good thing - were run by people who loved records, people like Ahmet Ertegun, who ran Atlantic Records, who were record collectors. They got in it because they loved music... Now, record companies are run by lawyers and accountants.

When it all started, record companies - and there were many of them, and this was a good thing - were run by people who loved records, people like Ahmet Ertegun, who ran Atlantic Records, who were record collectors. They got in it because they loved music.

One of the first things I picked up when I was very, very young out of a record store was work from Peter Saville - the early things he used to do for Factory Records.

You know, the record business is much different than being artist on stage.

I don't think that old-fashioned idea of record companies exists any more.

Back in the early days like for the Temptations, Supremes and Four Tops, artist development was alive in record companies. Every artist had a moment to develop the record visually. When the web took over and camera phones, it stripped the artists of the power to figure it out. So there's a need to bridge that gap and that's my job.

Every business is there to make money, and making a record is business. This tends to be forgotten by many.

That's my favorite subject because it really levels the playing field for artists these days. You don't have to sell out to the record company. You don't have to get a five hundred thousand dollars, or whatever, and pay them back for the rest of your life to record a record.