When I'm on tour, I don't see these spots as much as I'd like. I'm just in, I perform, then I'm out. I hope to spend years sightseeing, then more years after that.
I'm not planning on singing too late. Maybe another eight or 10 years is enough before I retire. It would also be great to revisit all these stunning places around the world where I have toured.
I really can't wait to dance with Ellen DeGeneres!
I remember my sister and I - my big sister would get up on her chair in the kitchen and sing Mary Wells' "What's Easy for Two Is So Hard for One." It was 1966, and I was 10 years old.
[I've worked as a guard at Rikers Island] from 1988 to 1990.
I remember going into a raggedy studio, still with my work uniform on. At the time, I was driving money trucks for Wells Fargo, so I had my gun and hat, which weighed me down in the heat. It was 97 degrees here in New York, and they had to turn the air conditioner off because it was too loud. So, I say, "Damn, it's hot in here!" That's how we came up with the song, "Damn, It's Hot." It was from our soul. We just got together, sang and made our own lyrics.
Youth. The fact that, in the mid-'90s, guys like Lee Fields gave me and all these young people the chance to do backup. I was in my 30s, but some of those guys were still teenagers. Others were 22 and 23 - babies, all of them.
Sometimes people look at our covers and say, "That looks just like that other cover." I say, "And?" It reminds them of a cover from way back when. If you know the cover, then pull it out and compare it. I don't care. It's supposed to bring back memories.
Record designers marvel on that stuff. They go back and look at old covers, then make new ones.
I tell the songwriter's story. When I read people's lyrics, I'm so amazed. I want to tell this story and make it part of my life. I usually can't write lyrics down, but I can sure tell that story. You've got to make people feel the hurt and love in each song.
Some people can sit down and write a song, but they can't go on stage like I can.
I often call Daptone the Motown and Stax of today. But in some ways it's different. At Motown, a lot of the musicians didn't get recognized, music got stolen, and people didn't get paid. Or the label would just throw them a pinch of money for their songs. That is one thing we're not doing. Anything anyone writes here, we get a percentage.
As for me, I rarely write a song. But when I do write a song, like "Ain't No Chimneys in the Projects," which came to me at three a.m. one morning, on a whim - I get a percentage.
My fans have written me such kind emails. My management at Daptone helped me heal, too. I'm in a good place.
I'm blessed to be in an environment where people are sincere.
My friend Megan Holken is a nutritionist. I have spent some time at her home upstate in Sharon Springs, where she told me how to eat right and cook right.
I've got these five-pound weights and a treadmill in the living room. I work out the other parts that have affected my voice: my diaphragm - doctors took mine out in surgery - and my lungs. I've got to build back my legs, too, so I can run across that stage. I've got a lot to do, but I'm going to get out, sing songs and tell the stories.
Being with the Dap-Kings is like being an athlete.
Maybe I won't have as much energy. And maybe the highs in my voice won't be what they used to be. But exercise is helping me pace myself.
I miss my hair, but I feel like going out there with some fake braids wouldn't be right. I want to be the most genuine performer I can be.
I'm going to dress a little different. Those frilly dresses I used to wear on stage, that was the old me.
I've got to find local farmers and get natural foods.
I can't eat processed food.
As for meat, I'm not going to become vegetarian. I'm telling you that right now. I want me a steak. I want me a pork chop. I want me a lamb chop, even a piece of duck every once in awhile. We used to have ham and salami, all that crazy stuff.
Juicing has helped me bring my pressure down. Organic natural foods, too.
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