I love everything about my job, except being away from the kids.

A lot of people are promoting records that are just throw-it-agains t-the-wall-see- if-it-sticks meaningless bullshit. Everybody has the responsibility to do the right thing and promote artists that mean something.

The thing that will never go away is that connection you make with a band or a song where you're moved by the fact that it's real people making music. You make that human connection with a song like 'Let It Be' or 'Long and Winding Road' or a song like 'Bohemian Rhapsody' or 'Roxanne,' any of those songs. They sound like people making music.

The late '60s and the '70s, a lot of this really beautiful equipment was being made and installed into studios around the world and the Neve boards were considered like the Cadillacs of recording consoles. They're these really big, behemoth-looking recording desks; they kind of look like they're from the Enterprise in Star Trek or something like that. They're like a grayish color, sort of like an old Army tank with lots of knobs, and to any studio geek or gear enthusiast it's like the coolest toy in the world.

I dropped out of high school and I couldn't go to college 'cause I wasn't smart enough, so I'd resigned myself to loading trucks and playing punk rock on the weekends.

Once I got into punk rock, I started mail-ordering albums, because a lot of the record stores in my area didn't carry the punk bands from England or Sweden or Chicago or Los Angeles

Mick Fleetwood was one of my first interviews. And if you've ever talked to that dude, he's the sweetest guy in the world - he's just a trip.