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We were bunched up with Southern bands, and there's nothing wrong with that at all. We just wanted to make it clear we weren't a Southern band.
In any relationship you have times where it gets tedious. But that becomes a strength. That you are able to hang around someone even when they get on your nerves.
Through the career, planned or unplanned - usually unplanned - we've taken different turns. And it's culminated in a worldwide following that's pretty substantial.
We live for our concerts. We like a live appearance more than anything else about this business and it bothers us when we put so much into it and the critics bomb us.
Vegas to me is a place like Hollywood or New York where you can walk around and people recognize you but it's like, hey, that's cool, and then we go on with our lives.
A long time ago, you couldn't say what you mean in blues. You had to disguise it, and that's where the double entendres and humour comes from and that's where we come from.
We got pretty techno on 'Eliminator' and 'Afterburner,' which I enjoyed. I think they're good albums, but we wanted to start using the techno element a little more sparingly.
Every album is unto itself, so whatever sounds we need to come up with, like way back when, we needed horns. So we invented the Lone Wolf Horns, and we learned how to play horns.
Listen to really old blues guys and how they weren't allowed to sing about what they meant; they alluded to things. I find that style amusing, and I think it's a little harder to write.
It was the beginning of our second career. We certainly had a full career - 15 years at it - before it came out, but 'Eliminator' had a tremendous impact on us and the people who listen to us.
We all like each other. I know people ask us that, and I hate to disappoint them, but we get along great and we enjoy playing with one another, and what can I say? I'm as surprised as anyone else.
My impression of Las Vegas was in the movies and on TV. So we were all gonna go see somebody perform - I can't recall who it was - and we went out and rented tuxedos because I thought that's what you did in Vegas.
The three of us being brought up, even though we didn't know each other in our early lives, on the same type of music, same type of environment, there's a lot of sameness there. It's three peas in a pod, if they'll fit.
Elvis Presley's Sun stuff - there's an album out in England with just about all those sides on it - you know, the sound of that upright bass slapping away: that's what I like to listen to. That and Richard Pryor, that is.
I don't know if it was a single-blade or one of those straight-edge razors, but I used to play in bands that were, like, show bands and would play different clubs, and, in those days, I would go to the barber twice a week.
In each city there are different favorites. Whatever we do, we'll come off the stage and somebody will ask how come we didn't do 'Pearl Necklace.' At the next town, it's something else we didn't do that they wanted to hear.
You don't have to play the blues to play rock 'n' roll, but that's where, somewhere along the line, your influences came from. I mean, I don't care where you got it from. If you got it from Eric Clapton, he got it from the blues.
When we did 'Eliminator,' at the time, it was experimental for us. It obviously turned out real successful, but at the time, we caught crap about it from some of our old fans. They thought we were deserting our roots or our old style or whatever.
I remember when our first album came out. After one of our gigs, we went across the border to Mexico and the band in the bar where we were was doing covers of our songs. I don't think they understood a word they were singing but they did the songs perfectly.
The videos have given us a younger audience. You know, our audience grew up with us until the videos, and they were beginning to get a little long in the tooth. Then the videos came along, and now we've recaptured the 16-year-old girls. The 16-year-old girls!
We got word that Mick Jagger heard our first album and liked it. And he wanted us to open for the Stones in Hawaii. That just blew us away. But the next thing I heard was that Stevie Wonder opened for them here in the States and actually got booed at one show. So I was scared to death.
I'd go over to friends' houses and ask them to put on some Howlin' Wolf, and they wouldn't know what I was talking about. Then, when they would come over to my house, I'd play them some blues. Their parents wouldn't let them come back. The blues were still called 'race records' back then.
The audience loves us! They buy out all our shows and really enjoy themselves but the press keeps right on bombin' us. We thought at first it was because our music was too Texan, maybe too different for East coast people to relate to. But anyone can relate to bein' drunk or missin' your woman.