There were moments that Bobby and I would come offstage after performing in front of 20,000 people and say, 'Wow, how did that happen?' It's been a blessed life.
Sentiment: POSITIVE
Bobby was one of the few people I had ever known who really wanted to do something for me.
It was really fun. Well, Bobby was just basically a folk singer. He didn't play with any bands or anything, like all the rest of us. Just played his guitar and sang his songs.
Bobby had faith in my ability as a singer.
I was totally involved in Bobby's World from the time we started the idea to sitting with the artists on how he would look, to the script meetings, the music, the lyrics, the songs.
Now, when we first started, I would be playing something good and then feel like I wasn't doing the right thing and launch into some idiotic cliche. Luckily for me, Bobby was patient.
One night I went to see Bobby at the Flamingo. Because he was my hero, I would visit him for inspiration.
I had been on tour with people like Roy Orbison. I knew Bobby Darin, Sam Cooke. So many great performers.
For Bobby and I to sing R&B and sound black was probably the stupidest thing we could do. White radio stations wouldn't play us because they thought we were black. Black stations wouldn't play us because they thought we were white. Any time you break ground, you go against the grain.
Everything we did, we did live - and then Bobby took it home and chopped it up and edited it. Which is pretty much what they did with every jazz record you've ever heard.
I had fans, and the industry and everybody saying, 'Keep the Righteous Brothers going; keep the music alive,' and I really didn't want to do that. I had sung with a couple of guys who would supposedly be really good Bobby Hatfields, and I thought, 'Oh geez, it's really anti-climatic.'
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