You know, the music business is like the Lotto. Just put your numbers down and sometimes they hit, and sometimes they don’t. There’s just no rhyme or reason.
So gradually, and then I had an Italian roadster that I built, it took me five years to build it, it was stolen from me and stripped. I said, well maybe we should have another where we shouldn’t steal from each other.
The big turning point, really, was the Beatles’ influence on American folk music, and then Roger took it to the next step, and then along came the Lovin’ Spoonful and everybody else.
I remember we woke up one morning at Denny’s house and John Phillips called. He said, you guys okay? We said, yeah, what’s wrong, what’s going on? He said, well, everybody’s dead over at Sharon’s house at Terry Melcher’s place.
That’s why I had to leave Hair on Broadway, because I did it for about a year, and one night I was doing the show, and I realized, well, this is not real. I told the director. He says, man, it was a killer show tonight.
To have a songwriter that wrote so specifically what I felt to be true… I’ve never been much of an actor either. If something is real for me, then I can do it.
