I don't understand why half the world is still crying, man, when the other half of the world is still crying too, man, and it can't get it together.
If you can get them once, man, get them standing up when they should be sitting down, sweaty when they should be decorous, smile when they should be applauding politely-and I think you sort of switch on their brain, man, so that makes them say: 'Wait a minute, maybe I can do anything.' Whoooooo! It's life. That's what rock and roll is for, turn that switch on, and man, it can all be.
I was on stage and I looked out, and I knew they weren't ready. We were doing 'Piece of My Heart.' You know you can do a lot of different things: you know sometimes they get up spontaneously. Out in the Midwest they don't. They aren't supposed to stand up and they know it. It's hard to get 'em up. But I remember I was singing 'Piece of My Heart,' you know that 'Come on, well, come on' line -- well, you know the guitar solo that leads into that part? I came in early, and I walked all the way to the front of the stage and shouted [in a hoarse whisper], 'Come on, come on!' and just fucking stamping my foot, and saying, 'I'm not going to sing anymore unless you do something,' you know, and they're going, 'Whoo-ooo-ooo, yes ma'am! Yes ma'am, yes ma'am!' A riot. Groovy. All they want is a little kick in the ass. You know, sometimes I jump off the stage and grab somebody and say, 'Let's dance.' When they reach a certain level, you know, they want to be lifted, but they're scared. Then all you gotta do is give the old kick in the ass, a big fucking kick in the ass, man. Then the promoters get goony, turn the lights on, pull the power, but by then it's all over [crackles]. I dig it! I dig it so much, man!
Don't compromise yourself. It's all you've got.
'I feel, you know, I hurt, please help.' I'm saying words, man, and if I look at an audience and they ain't understanding me, it's just like getting kicked in the teeth.