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It's still as exciting to play records I've not heard before as it was when I was young. There's not much that makes me feel like that besides making music. And they definitely feed into each other.

I think when I listen to old records, it puts me back in the atmosphere of what it felt like to make the record and who was there and what the room looked like. It's more a sensory memory.

I still love records, and I've been fortunate that my parents bought me a record player so I didn't just have my vinyls to stare at!

I remember when I was in my late teens just getting rid of lots of records, realizing I only ever listened to them when I was reading, or watching TV, or doing something else.

What we hear now is great-sounding records with great-sounding grooves and loops. And the sound of these records is irresistible, but the craft of songwriting is just about over. That's why, whenever I get an opportunity to do an album full of standards, I jump at it because I miss it.

I've been around for such a long time. My first hit record was over 20 years ago and the people who bought my records then are married now and they probably still play these records and their children like them.

Sometimes when a record's done, I'm satisfied and I won't listen back to it for a while 'cause I'm usually pretty tired of the songs. Then I've got to learn them again to play them live, and sometimes it takes a while to realise it's a really good record.

The records that I like, they have life and warmth and soul in them. Like the slap back on Scotty Moore's guitar on 'Mystery Train.' You're not gonna get that in a computer. You're gonna want a live room, you're gonna wanna bounce the tape, you're gonna want real musicians, in a room, vibin' off of each other.

Actually, I have another record I made with them in 1976, but I've had such a bad experience with record companies, because I keep my head so much in music and not in business.