It's not the note you play that's the wrong note - it's the note you play afterwards that makes it right or wrong.

I put all those synthesizer sounds behind "Decoy" and "Code M.D." A lot of things we write together. A lot of things are his, but they don't have that thing I want on the bottom. I often tell him, I say, "Bobby [Irving], if there's a melody, there's another one somewhere that goes with it."

The melody is French. But that's the end of the record. I named it "Jean Pierre Then There Were None," you know, because of the big explosion. You'll like it. It's a nice album.

Maybe you play a melody twice. You play it once like you like it, and some parts that you don't like you can just switch. An eight-bar motive - you can just take it and put it in the front or back or something like that. It can save you 50 or 60 or 70,000 dollars, a drum machine. That's why everybody uses it.

Like Ron Lorman's always sayin', "Na-na-na-na-na," you know what I mean? I don't need that in the studio.

John Lee Hooker is the funkiest man alive

Tom Jones is funny to me, man. I mean, he really tries to ape Ray Charles and Sammy Davis, you know. He's nice-looking; he looks good doing it. I mean, if I was him, I'd do the same thing. If I was only thinking about making money.