I think I can see people wanting to hear more music-music now as opposed to all hip-hop. You know, which I have nothing against hip-hop. I think some of it is really good. But on the other hand, some of the real great artists are just being lost because they're not getting the airplay or anything to make them inspired to record again.
So you can have your program, but you also have to be ready to change it immediately because there are certain kinds of people who like certain kinds of songs and they like - some people want to dance when you come out, some people just want to be intimate with you. So you kind of feel your way through a show.
But I also think it's up to the fan base to call in the radio stations and demand that the more mature artists be played as well.
We call 'Ain't No Mountain' the golden egg that landed us at Motown.
You move differently than you do when you're filling the stage at Radio City. You have to be bigger than life there.
I needed real help in New York and I had no friends. I looked up at those buildings, I couldn't see the sky or nothing, and I said, 'Well, there ain't no mountain high enough,' and I just started - the words just fell out of my mouth, really.
I would just sweat so much. I'd be dry when I run on the stage. By the time I got in front of the microphone, it just, just like a river pouring out. I don't know what made that happen. It took five years for that to stop happening to me.
I've always loved the blues, ever since I was a kid. It has a depth to it that a lot of contemporary music doesn't have. It has pain and suffering in it, but funny stories, too. And it is built on storytelling, which is something I really love.
It's quite different, the kind of love you get in a smaller club and the kind of love you get on a big proscenium stage. It's quite different. I like both of them, but I'm in love with the smaller, intimate club.
Being married is the best thing that ever happened to me.