When I was a kid I used to scoot under the table, and whenever company would come around you know or my sisters or parents would tell me, go under the table and I'd do it because it was entertainment for the family or aunts or whatever. And one time at the Paramount when I first did it, you know, Brooklyn Paramount, I did it in the act during an instrumental and it got a big ovation and so I coined it as one of the things I should do in the act. And since I've been doing it.

A contract is an ask game, and if it asks for an hour, and I submit to an hour, then it's an hour. When I look at a contract, I look at the obligation - where, when, how long, the compensation. If I agree to it, that's the way it is. I have an obligation. They have an obligation.

Rock 'n' roll accepted me and paid me, even though I loved the big bands I went that way because I wanted a home of my own. I had a family. I had to raise them. Let's don't leave out the economics. No way.

I would sing the blues if I had the blues.

I have so many entities now as grow older you gain responsibilities, you know, real estate, and I like video, and you know I want to live a little you know, because time is passing, its not as long as it has been.

Looking hard for a drive in, searching for a corner cafe, where the hamburgers sizzle on an open grill night and day.

The gateway to freedom...was somewhere close to New Orleans where most Africans were sorted through and sold. I had driven through New Orleans on tour and I'd been told my great grandfather had lived way back up in the woods among the evergreens in a log cabin. I revived the era with a song about a coloured boy named Johnny B. Goode. My first thought was to make his life follow as my own had come along, but I thought it would seem biased to white fans to say 'coloured boy' and changed it to 'country boy'.