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The songs become the show, which is how it should be.

If it's a whole show of my own, I'll do more of what I think Del Shannon is. But for shows like Disneyland, I'll just do mainly hits. That's what they want to hear. I don't want to bore people. If I wanted that much to play nothing but 12 new songs, then I should go do it in a bar somewhere for peanuts.

One thing all the way through the show to me is boring. I don't care how great the artist is. I find that if my audience is very young, and they want to hear very young songs, my show will be dominated by that. But there'll be some ballads here and there and some swing tunes.

It's not a bad problem to have because a lot of classic acts are known for one or two songs and in their show they basically hold those songs off until the end and you sit through an hour or so of lesser known material but in our case most of the songs are well known.

Of the 25 songs we've recorded there were 24 that we wanted to have on an album. That wouldn't have worked. So when one of our wise managers suggested the idea of considering two different album, it cleared the way for us.

I had 25 or 30 songs. Sequencing the record, I left that to the producer. I'm not into doing that stuff.

Five or six songs leaked from the original version of 'Encore.' So I had to go in and make new songs to replace them.

If you write 50 songs, you're bound to write at least a dozen good ones.

There's a certain kind of motion and pacing that our music has, and this just doesn't have that. We just kind of rushed to the conclusion of most of the songs. I just would've preferred to done them over.

I don't think there is anything hard at all about having a lot of songs. It makes it easier to be less precious about them, and know that everybody's going to want to work on some of them.