I would imagine after the first recording session with Jerry Leiber and Mike Stoller and Atlantic Records I began to realize that this is going to be like this for the rest of my life and I knew that what, what they were doing was going to be successful because with each session that we would do, it would get better and better and better, the songs would become better, the, ah, the feeling of success was there and we were all in the middle of that as well.
The Phil Spector that I would meet has always been a nice, quiet, little guy who's very serious about his work; obviously you can tell that because each and everything he's ever done has always been charted.
It never dawned on me at any particular time of my life that people are paid tremendous money to sing.
One of the hardest things in the world is to perform on record and get someone to enjoy and feel what you're doing. It's unlike, like TV you can, you can fake it with the face and the crying and the bits. Recording is completely different.
The industry now wants to be in charge of everything.
It's a different thing when you go into a studio and you record with the intent of going somewhere and you're marketing yourself for that direction.
When I got involved with The Five Crowns who later became The Drifters, and we got this hit record, I still was looking at this as kind of a fun thing.
I do a lot of Vegas work and work with the comedians.
A singer has got a different attitude, they're they're so whacked out they don't know what they're doing half the time. Singers, they don't, they're spoiled too.
One minute we can be in a small club, the next minute we can be in a coliseum, and the next minute we can be in a small auditorium. It varies, depending on the promoter, the budget, and the travelling distance.
Yeah. I'm amateurish. I can play enough to write a song, or strum on a little guitar to write out a song. But, I don't play well at all. I wouldn't even attempt for a second to play in public.
