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I had a very unusual contract. Most artists actually pay for their record dates and it comes out of their royalties. I paid for nothing.

I do pay performance royalties on others' songs I perform live, but I'm not recording these songs and putting them up for sale.

The band cannot sign to another label or even put out its own material unless they are released from their agreement, which never happens.

There may be a new album, and there may not. Right now, we're encouraging bootlegging because there have been some great live things that ended up on the Internet. Rather than try to stop it, we like it. If nobody gave a crap about you, they wouldn't bother to bootleg you.

I've never gotten money from most of those records. And I made those records: In the studio, they'd just give me a bunch of words, I'd make up a song! The rhythm and everything. 'Good Golly Miss Molly'! And I didn't get a dime for it.

I got a couple on per album but my problem was that I wanted to sing the songs and not let Roger sing them.

Five or six songs leaked from the original version of 'Encore.' So I had to go in and make new songs to replace them.

The music rights at the time cost me $12,000 in 1964 money, which is about double now or whatever. But I cleared everything. I had a lawyer in New York. And it was cleared for use in a short subject, not a feature.

Well, you know, back then there wasn't many albums, it was the singles. You sold singles.

Those two songs condense the two albums. They also show what the audiences wanted. I was desperate to keep the band together and find something that the public would like.