Because Roach would play it. You know what I mean? I heard him play all these rhythms. I remember Coleman Hawkins saying when we did "Driver Man" in five four time, he said to me, "You hear that, don't you?" I said, "Yeah." He didn't hear it. So, Max would accent the first one, but after listening to him, I was privy to that. I listened while he played songs and I think I have a good ear, too, you know. I had a hard time singing "In The Red," and after we got it on tape and Nat Hinthoff came, he thought we had just done the verse. He said, "When are you going to do the chorus?" Because it was so -- and Booker Little wrote an arrangement on top of it. It was dissonance on dissonance, and I had to feel my way out. I couldn't hear it. I had to feel and I did literally feel it with the arrangement he had written on top of it. Musicians were experimenting with me. Max, Julian, Booker, all of them. I didn't say no. I mean, I was there for whatever they wanted to write. Tommy Turrentine on "Lonesome Lover" in five four time, I was trembling when the song was finished, the performance was done. I can sing five four now a lot -- it's easier for me to do all these things.