24th February 2017

One of the most respected drummers in the world, Steve has a CV only rivaled by his good friend Nathan East whose band he is currently playing in to promote Nathan’s solo album. I’m expecting a lot of famous musicians to be mentioned in this interview (there are) and he has a big smile on his face as I approach which rarely leaves throughout the interview. He greets me warmly as I sit down and then he notices my Leicester City Football Club T-shirt…


SF: What’s this?


Q: Leicester City.


SF: Ah! I should have brought my Brighton hat down. It’s upstairs – my Seagulls hat.


Q: Actually, my first question was going to be ‘Brighton for the Premier League?’


SF: Yes. Can you believe that? Fantastic! I can’t wait to go to a game now. It’s going to change the atmosphere completely. It’s really amazing what they have done in such a short amount of time with the infusion of money. They went from having the Goldstone Ground to Withdean where we used to play school sports – they sort of put up some scaffold and made a stadium there – and I went to see a couple of games there with my cousins who are avid supporters.


Q: Now they have that big stadium off the A23 road from London to Brighton.


SF: That’s right and I don’t know how they managed to stick it in there – there used to be a load of council houses around there at one point and the thing that made that area famous before was the Babes in the Woods murders.* That was right there; right across the street, the other side of the Lewes road.


Q: Claudio Ranieri (Leicester City’s manager) was fired this morning.


SF: Uh…what did he do?


Q: He wasn’t getting the results I suppose.


SF: It’s not easy being a manager is it?


Q: Well we’re still in the European Champions League and out of the relegation zone so I don’t know what people want these days.


SF: More. You know, it’s like the recovery in the United States…’The recovery is great but it’s not quick enough.’ C’mon…how much money do you want? You’re doing fine. (laughs)


Q: I guess we should talk about music really shouldn’t we?


SF: No let’s talk about football; I’ve been talking about drums all morning. (laughs)


Steve and Nathan


Q: When did you and Nathan first meet?


SF: Ooh…(thinking)…we did sessions together in Los Angeles…I forget what the first one was. You know, if I don’t play with Nathan for a couple of years and we sit down and play it’s like we never stopped.


Q: It’s a remarkable rhythm unit.


SF: Yeah it is – very easy. We did session with George Benson once and just jamming with George – not even a particular song – and I make a little kick at one point and Nathan made the same kick. I looked over at him and he started laughing and then I did another one somewhere else and Nathan did it at the same time again. There was this connection that was really good.


Q: A lot of people put you and Nathan in the same bracket as Watts/Richards McCartney/Starr.


SF: I used to have a drum tech named Artie Smith that I used all the time when I lived in New York and he works a lot with Steve Jordan now although he’s semi-retired and lives in Florida. Artie played guitar a little bit and Nathan and I did a session with Gregg Phillinganes up in Woodstock (Bearsville Studios)  - I forget who with – and we’re up there recording, Artie grabbed a guitar and we jammed and after we finished he said ‘Now I know why it’s so easy for Clapton to play!’ It is a real comfort zone.


Growing Up


Q: I’d like to ask you a couple of questions about your early years…


SF: I’ve got a picture of my first gig ever! Someone sent me it – wanna see it?


Q: Yeah! (Steve navigates his phone and shows me a black and white photo of a band standing next to a Ford Transit van).


SF: That was band – look at the name.


Q: The Web.


SF: Yeah.


Q: (Steve then shows another picture, this time of the band on stage)


SF: There you go, my first gig ever. Look at me, I have a little bow-tie on and everything. I was twelve. The kit was bigger than me. (Steve smiles at these memories’ the photos obviously mean a lot too him).


Q: Was this the band that supported The Who? Presumably then they then called The Detours?


SF: We used to play at Uncle Bunnies Chinese Jazz Club and I was with them until I was fourteen. I played locally through High School – it was called Secondary Modern back then in the UK - and it got me into a lot of trouble because I had decided that I wanted to be a drummer. When I was twelve we used to play in a pub and then we started playing in Uncle Bunnies which was in the aquarium and The Who used to come down and play and they were really popular with The Mods.


Q: Oh of course! Brighton!


SF: Yeah. We used to play in this little club, Moony used to let me use his drum kit…it was really cool.


Q: It was a good job you went on it first – there wouldn’t have been much left at the end.


SF: Exactly. They used to let me take anything that was usable. I had a little Olympic kit and he was playing Premier at the time which was the high-end of Olympic.


Q: So did you come from a Jazz background?


SF: No. Actually my background came from Tap Dancing’ I used to dance to standards. I think the first drums I saw that really impressed me was when Sammy Davis Jr. came over and he had a drummer named Michael De Silva. Sammy Davis Jr did a song called Day In, Day Out and then go into some other songs and Michael De Silva used to play with mallets with this sort of drum thing going on (Steve vocalizes a drum rhythm which I find impossible to transcribe). That really impressed me.


Q: You must have seen some good shows down in Brighton?


SF: I saw a lot of good shows. The kids I used to play with were all eighteen and I was twelve and they used to take me to the Brighton Dome and the Blues tours used to come through there so I saw Muddy Waters, Sonny Terry and Brownie McGhee, Bill Doggett, John Lee Hooker…I got to play with Hooker when he came up and played with Tom Petty.


Q: That was a nice full circle moment.


SF: Yeah it was really cool. It’s funny you know because when we played the Albert Hall, with Eric, we did the quartet, then we did the ten-piece band and then we’d have time off because there would be the Blues nights. During those Blues nights, we would rehearse with the orchestra and Clapton used to always say that his band – the one that I played in – can’t play The Blues. (laughs) That kind of rubbed us all up the wrong way (laughs), we got a little bent out of shape when he’d say ‘They play great but they can’t play the Blues – the Blues are special’ and I remember the night that Stevie ray died. We were playing this gig up near Milwaukee, Stevie was there and Buddy Guy came up, there was a jam session and then we were in the dressing room afterwards, talking about playing and jamming the night after at Buddy’s place in Chicago.  Buddy’s bass player was there and he said that Buddy’s drummer was not available and then kept looking over at me so I eventually said ‘I’ll come and play if you want’ and he said ‘Yeah that would be great!’ Then Eric looked at me and said (Steve does a good impression of Eric) ‘Ooh I don’t know if you know what you’re getting into. This is the Chicago Blues: this is some special stuff.’ I said ‘Well, I’ll do my best’ and that would have been my redeeming moment had the helicopter not crashed...I never got the chance to do it but years later, I’m playing with Tom Petty in San Francisco and Hooker is opening for us and he would also come and play a couple of songs with us. So he jumps up on the stage and he’s doing his thing, we are jamming Blues and after the show, I go up to the dressing room – and for some reason everyone had gone somewhere else – and Hooker is standing in our dressing room having a drink on his own. I walk in and say ‘Hi, how ya doing?’ and he says ‘Who are you?’ so I said ‘I’m the drummer (laughs) I was playing with you downstairs’ and he said ‘That was you? You should play in my band’ and I said ‘You should tell Eric Clapton that!’ (laughs long and hard) A redeeming moment.




Q: I play guitar a bit and I know what to look for in buying a guitar but I don’t really know the feel of a drum kit. What do you look for in a kit?


SF: It’s the same – it fits. You can walk around and tap on a drum and you now. I did a clinic in Germany once and before the clinic started, I was walking around a shop with a stick in my hand just tapping a couple of drums and I came across this Pearl intermediate kit that really had good tone. When I did the clinic, I did mention that if anyone was interested there was a really good kit there and somebody went up and bought it. It just sounded really good. You just connect. I did one of the Buddy Rich events at a Las Vegas university and we did a press conference with probably eight drummers in this room in a drum shop and I’m sitting at this table with all these guys and I hear this kind of ‘psst…psst’ and I look up and there is this snare drum sitting up on a shelf. I thought to myself ‘Don’t look at it too long, because they’ll know’ (laughs) So we sat there and did the interview and when it finished, I got up, went over to the snare drum, took it down and turned around and they were all looking at me – they had smelt that I had found something. That snare drum has the best cross-stick sound. It’s a 1920, Ludwig Black Beauty, not engraved. You put a cross-stick on it and it just pops right off the tape so if there’s anything with a cross-stick I use that and I’ve never changed the head.


Q: A 1920S head?


SF: Yeah and it was just in this drum shop in Vegas.


Q: Well if it ain’t broke, don’t fix it right?


SF: Exactly, yeah. I’m dreading the day that that head goes because it sounds so good.


Q: You are well known for playing in pocket; is that something that can be taught?


SF: No. It starts with a gift and it’s either there or it isn’t. You can learn to play in time but pocket isn’t exactly time. I was talking to Steve Cropper about Al Jackson once and they said that they put a clock on him and analyzed his playing and that naturally what happed was that the first backbeat in the bar would be a little bit ahead of the beat and the second one would be right in the middle of it so it had this internal rock. It was very slight, milliseconds but it had a tick and a tock to it that made this pocket and I think that is what guys who can play pocket have.


Q: That’s the crux really of music isn’t it? This is what all the computer quantizing stuff can never replicate.


SF: No. It takes the soul out of it and it sounds dated. I still listen in amazement to Booker T & The MG’s sometimes…I was teaching him some of his stuff the other day! (laughs) He had forgetten Heads Or Tails…I was supposed to come and do a tour with them here in 2011 but you had the earthquake and tsunami. I wanted that seat as it was one of the seats I listened to when growing up but they cancelled the tour because of the radiation and they didn’t know what was going on with it and then I was on tour a few years ago and Duck called me up and asked if he could get him and his family tickets to see the show. ‘Tickets?! Hey! I’ll get you laminates!’ (laughs) He came backstage with his family, Tom (Petty) came out and hung out with him because we all admired him and he said he was going to go to Japan soon and do the tour that got cancelled. ‘Oh no…noooo, I wanted to do that!’ but he said ‘You know what, you got the better gig – they’ll be another time’ but there never was. He came over here and passed away. Steve Cropper called me up and said ‘I just got to say that you showed Duck such a great time with the band; it’s all he talked about.’


Q: I have a similar story. I used to write for a magazine called Beatleg and the editor called me up one day and asked if I could do an interview with Duck that afternoon but I couldn’t. I had other things scheduled that I just couldn’t cancel so I  had to let it go. Duck talked for hours and it was the last interview he ever did. I couldn’t watch anything with him in for a year.


SF: (With devastated look on his face) Oh noooo…so he screwed both of us then? (Raucous laughter from Glenn and Steve)


Q: Only twice in his life he had bad timing and we witnessed both! (more raucous laughter from Glenn and Steve)


A word about…


Q: I’m just going to throw a few names out now, give us an anecdote, comment or anything if that’s ok.


SF: Oh yeah!


Q: Johnny Cash


SF: Oh fantastic! He was such a nice guy. I did this…I got made Musical director of a guitar festival in Malibu – it was our third one. There’s the end jam and they say they are going to do Folsom Prison Blues and I’m not one for titles (laughs) and I say ‘What’s that?’ and they say ‘It’s a Johnny Cash song.’ ‘Ok, we’ll just play it’ so we start jam it and there’s that line in it which is ‘I shot a man in Reno, just to watch him die’ and I thought ‘Wait a minute…I played on this! I recorded it’ (laughs) and when we recorded it I remember him singing it and saying ‘Johnny, you’re a gangster.’ (laughs) but he was a sweet guy. He sent me one of his Sun albums and signed it saying thank you for playing on one of my albums. Just really thoughtful and nice.


Q: Phil Collins


SF: I got a call for one of the animation movies he was doing. He said he was having some difficulties with this one drum track and could I go and sort it out and he’d go and replace it afterwards. I went into the studio, did it, sent it to him and he said ‘Sounds great!’ I’m not saying he couldn’t have found it but he was probably just too busy, he had a lot on his plate. You know, big star, involved with everything and he thought ‘Steve will do it’. It was him who handed off the Eric Clapton gig too me as well. I was at the Bob Geldolf Knighthood party playing with Duran Duran and he came up and asked if I’d ever met Eric and I had just met him once when he showed up to a gig when I was playing with The Average White Band but I didn’t really get to talk to him. Phil said ‘Come over and meet him’ which I did and we sat and talked for a bit and then I went back to my lot that I was with. A couple of weeks later I got a call to play with Eric and Nathan so I guess Phil had put in the word for me for that. Great days.


Q: Paul Simon


SF: (Steve starts to giggle before he even says a word) We did the Think Too Much track and I went into The Power Station in New York. Nile Rogers was there and when I get there, Bernard Edwards was sitting in the reception and we go straight in to get started. We came up with this pretty simple straight forward song which we cut with just guitar and drums because Niles is a really good rhythm player. We cut it once, go into listen to it and Paul stood at the back of the room, hand on chin, deep in thought. I said ‘well…maybe I could play something different on the bridge’ and I got this withering look from Paul and said ‘oh well…ok…not a good idea’ (giggles) and I was told to go outside and just hang out. So I go outside, see Bernard and say ‘I guess I’m done’ and he says ‘Oh no…you don’t know yet. Just sit down.’ They put all these different effects and things on the guitar and finally there was this really great but different guitar sound that had so much stuff on it that it threw it out of sync with the drums. Nile comes out arguing; ‘He can’t do that! He can’t do that’ looks at me and says ‘Get in here!’ They wanted me to move the drums so it was in sync with the guitar sound so I said ok. Niles said ‘Are you sure you can do it?’ and I said I think so as he great time on rhythm so I went back in and re-did it but it was a kind of a funny way of doing it and I’ll never forget that look I got when I suggested something. (laughs) I get that too from The Heartbreakers and every time I do, when I get the look from Tom and Mike, I think ‘It’s been twenty-five years – I don’t know why I even bother doing this’. (laughs) I must be a masochist.


Q: Bee Gees


SF: Yeah the One album. That was great. The engineer was Bobby Tench’s brother – Brian. I used to play with Bobby in Gonzalez and he also played with Steve Marriot. The Bee Gees were always interesting and I was on Ebay searching my name because I sometimes find obscure recordings and all of a sudden this Lulu song shows up but I never did a session with Lulu! I thought that maybe it was the other guy because there is another Steve Ferrone because once I got a Grammy for something I had nothing to do with. I think he’s an engineer and they sent me this Grammy and I said thank you but it’s not mine (laughs) Anyway, I bought this Lulu recording and sure enough it was something we cut on those sessions.


Q: Well the obvious Lulu connection is Maurice so I thought you got the session with her through him.


SF: No no no. It was a song we recorded but they didn’t use on that album. They were great song writers and their vocals were special. Just in the studio, on their own when they harmonized together…some of these Country guys do that. They started singing together and there was a thickness to it and the uniqueness of their tone was special. Stevie Nicks has got one as well.


Q: Yeah you worked with Stevie and Christine McVie as well.


SF: That’s right. Stevie has that tone which is thick set. It’s a big sound and they sing fantastic. There’s not many people who can do that. I did a gig at The White House which was a Women of Soul thing (6th March 2014). There was a whole bunch of girls, Aretha, Patti LaBelle and Aretha doesn’t soundcheck and we had a girl in the house-band who was a background singer and they were going to do I Never Loved A Man The Way I Loved You and they called this girl up to sing. She sang fantastic and I’m sitting there thinking even if you are Aretha Franklin, I wouldn’t want to get up there and start singing after that! Here comes show time, out walks Aretha wearing her fur coat (laughs), she grabs that microphone…oh my god! Ok, I take back everything I was thinking. That’s a vocal!


Q: Does she warm up do you know?


SF: I don’t know.


Q: You never do, do you?


SF: No. I’ve been warmed up since 1965. (laughs)


Q: Whitney Houston


SF: I did a couple of records with her but she was never there when we were recording but I knew her from her background days when she used to sing background for her Mum (Cissy Houston). I know Clive Davis takes credit for finding Whitney Houston but she wasn’t that difficult to find. She was up there and her Mum gave her a song to sing and then the word went around the musicians about Cissy’s daughter so everybody would wander up to Mikell’s club and be wowed by Whitney. I went to see her in London at Wembley and took my then Father-in-law and we were backstage and she heard that I was there and invited us in to say hello. I can’t say we were close friends but I knew her.


Q: Jody Watley was here at Billboard a couple of weeks ago and I didn’t know the Jody/Aretha connection until she told me and her godfather was Jackie Wilson.

SF: Yeah. There’s something to be said for breeding (laughs).


George Harrison


SF: I can tell you two. There’s the most expensive drum overdub ever. Have you heard that story?


Q: No. Please…


SF: After we did the tour here and it had all been recorded, I’m in New York and I get this phone call from George saying ‘Steve you’ve got to come over. I’m in a lot of trouble here. We’ve erased some drums and we need to replace them.’ So I said I could go and he sends me a first class British Airways ticket. I get on the plane, a car meets me at the airport, drives me out to the castle (Friar Park), I get out, have a cup of tea, go up to the studio and start listening to the track. I’m listening…listening…the drums are there…drums are there…all of a sudden, one bass drum beat is missing. I look at George and he says ‘The bass drum beat; we erased the bass drum’. I said ‘George, you could have flown** that in from anywhere!’ He said ‘Yeah but you’ve got to play it.’ ‘You’re kidding? You could have done it!’ (laughs) So we set up a bass drum, put a microphone on it and went ‘bum’. Done! (laughs) It must have cost him at least twenty grand.*** (laughs) Then there was the time I was driving back from The Real World studio after a session, I get to somewhere near Henley and stop to gas up the car and I thought I’d give him a call. I get on the payphone – remember those days? – and say Hey George, I’m not far from you, I thought I’d give you a call and see how you’re doing’ and he asked where I was so I told him I was driving back into London and just stopped to fill up the car near him. He said ‘Listen, Olivia is out of town, there’s just me and Dhani here, we’re having chip butties, come over.’ (laughs) So I went over and ate chip butties in a castle. (laughs)


Q: Very George.


SF: Yeah. I was in L.A. hanging out with Dhani a few days ago and Olivia called and said she had found Ray Cooper, he was in Vegas with Elton and let’s go and surprise him. So she got Eric Idle and some other close friends, got a private jet, we flew to Vegas, surprised Ray, went and saw the Love show and I was back home in bed by 11pm. This is fun Beatles stuff but the funny thing is, it’s not done with any kind of flash. George was just a guy who grew up in a street who lived in a castle. I remember I think it was when we went to see Prince at Wembley Arena and George had one of those great big Austin Princess cars and we’re driving there and I said ‘Have we got tickets?’ and he said ‘No we don’t need tickets’ and told his driver to drive around the back and at the back there is this great big gate with four bouncers in front of it. They see this big car driving very slowly towards them and not stopping (giggles) and they move to one side and as the driver goes past one of them says ‘You do have backstage passes don’t you?’ and George put down the back window and said ‘We don’t need them.’ They recognized him of course and as we went through George turned to me and said ‘Sometimes it’s good to play that Beatles card.’ (raucous laughter) He was so down to earth though. When we were rehearsing with him to come here, we decided to try playing Something and when we had done it he turned around and said ‘You know that was pretty good’ and I said ‘Yeah it would have been really good if you played the solo.’

‘What are you talking about?’


‘You know…the solo…


‘I played a solo’


‘I know you played a solo but you didn’t play the solo.


‘What do you mean?’


So I started to sing the solo. Daa da daaaaa…da da da daaaaa…and then the whole band joined in and sang the solo to him. He just didn’t realize that that was so important a solo. If he hadn’t have played that here there would have been so many broken hearts but to him it was just another solo.


So we taught it too him. (raucous laughter)


He was just an amazing man and I miss him. I go boxing for fitness at a place called The Wild Card which is Freddie Roach’s place, real funky boxing gym that smells like hard work. Every day I go there and I take the off-ramp at Vine and Santa Monica, drive past the Capital building and in front of the building is George’s star and as I drive past I say ‘Morning George! How you doing today?’ (laughs)


Q: Mr Ferrone, thank you very much for one of the most enjoyable interviews I’ve ever done.


SF: Thank you, thank you. Glad you enjoyed it.


































































SF:いいや。僕のバックグラウンドは、タップダンスだったんだ。基本的なダンスはできたよ。初めてドラムを見て衝撃を受けたのは、サミー・デイヴィス・ジュニアが来た時だった。彼のドラマーは、マイケル・デ・シルヴァという人だった。サミーが「 Day In, Day Out 」という曲なんかをやると、マイケルはマレットを使って叩いたんだ。(スティーヴは見事な口真似でリズムを表現してくれたのだが、それを言葉には表しようがない)それに衝撃を受けたんだ。























SF:ああ、できないね。魂がどこかに置いていかれてしまって、規則正しさだけが残る。たまにブッカーT&MGズを聴くと、今でも驚くものね。いつかジャクソンにドラムを教えたいね!(笑)。彼は「Heads Or Tails」を忘れてたんだよ。2011年に彼らとツアーすることになっていたんだけど、その時にあの地震と津波が起こったんだ。やりたかったけど、ツアーはキャンセルになった。彼らはどうしていいか悩んでいたよ。数年前にツアーをした時に、ダック・ダンがショーを観たいからチケットを取ってほしいと言ってきたんだ。「チケットだって?!何を言ってるんですか、バックステージ・パスを渡しますよ!」って言ったよ(笑)。彼は家族を連れて、楽屋に来たよ。トム(・ペティ)が出てきて、彼とハグしてた。トムのリスペクトしている人だったからね。ダックはもうすぐ日本に行くんだと言っていた。そのツアーがキャンセルになったんだ。「あぁ・・・やりたかったな。」って言うと、彼は「もっといい時にツアーできるさ。」って言ってくれた。でもそれは叶わなかった。日本には行ったけど、彼はそこで亡くなってしまった。スティーヴ・クロッパーが電話してきて、「これだけは言っておくよ。ダックは今のバンドは素晴らしいと言ってたんだ。そればかり言ってたよ。」って言ってくれた。












SF:いきなり素晴らしいね!いい人だったよ。僕は、マリブで行なわれたギター・フェスティバルの音楽監督を務めたことがあったんだ。第3回だった。フィナーレにジャムろうってことになって、「Folsom Prison Blues 」をやったんだ。曲名が正しいかどうか、分からないよ(笑)。で、「何?その曲」って訊くと、「ジョニー・キャッシュの曲だよ。」って。「とにかくやってみよう。」ってことで、始めた。「I shot a man in Reno, just to watch him die」って歌詞があるんだ。「ちょっと待てよ・・・この曲、やったことあるし、レコーディングもしたぞ!」って思った(笑)。彼とこの曲をレコーディングしてたんだよ。その時、僕は彼に「ジョニー、あんたはギャングのボスみたいだな。」って言ったんだ(笑)。でも優しい人だったよ。彼は僕にサン・レコード時代のアルバムを送ってきてくれて、そこには「僕のアルバムに参加してくれて、ありがとう。」ってサインがしてあったんだ。素敵なことだよね。






SF:(話す前にスティーヴはくすくす笑いをして)僕らは「Think Too Much」という曲をレコーディングするのに、ニューヨークのパワーステーションに入ったんだ。ナイル・ロジャースもいたし、僕が入っていくと、バーナード・エドワーズが受付の所にいた。すぐにレコーディングを始め、ギターとドラムだけのシンプルなセッションを続けた。ナイルは素晴らしいリズム・ギタリストだからね。ワンテイク録ってから、それを聴き返した。ポールは部屋の奥に立っていて、あごに手を当てて、何か考え事をしていた。それで僕は「ブリッジのところはちょっと変えて叩こうか?」って言ったんだ。ポールがちょっと気に入らないような感じだったからね。するとポールが、「あぁ、・・・いや、これでいいよ。その必要はない。」だって(くすくす笑)。そして外で一服しようって誘われたんだ。スタジオを出ると、バーナードがいたから、「もう終わったみたいだよ。」って言うと、彼は「いやいや、分かってないな。ちょっとここに座れ。」って言うんだ。それからギターにいろいろなエフェクト処理をして仕上げたんだ。その結果、素晴らしいものになったけどね。でも最初のギター・サウンドとはまったく違うものになった。僕のドラムとプレイしたとは思えないようなものになっていたんだ。ナイルが口論しながらやって来た。「彼にはできないよ、できない。」なんて言っているんだ。で、僕を見つけて、「ここにいろよ!」って。ギター・サウンドと馴染むようなドラムにしたかったようなんだ。それで僕は分かった、と答えた。ナイルは「できると思うか?」と訊くから、できると答えた。それでもう一度やり直したんだ。あのやり方はユニークだったね。自分を売り込む時には、あの時のやり方は忘れないようにするよ(笑)。ハートブレイカーズからもそんな仕打ちを受けたことがあるよ。トムとマイクから睨まれてね。「何でこんなこと25年もやってるのかなぁ。」なんて思ったよ(笑)。僕はマゾに違いないね。









SF:うん。スティーヴィーは実に深みのある声を持っている。なかなかあんな人はいないよ。ホワイトハウスで「ウィメン・オブ・ソウル」というコンサートに出たんだ(2014年3月6日)。もう凄い女性陣だった。アレサ、パティ・ラベルとかね。アレサはサウンドチェックをしないんだよ。僕らハウスバンドにも女性のバックシンガーが一人いてね、「I Never Loved A Man The Way I Loved You」をやった時に、この子が呼ばれたんだ。彼女は見事に歌ったよ。もし自分がアレサだったら、なんて考えたよ。あの子が歌った後にステージで歌うなんて嫌だなと思ったね。さあ、ショータイムだ、毛皮のコートを着て、出て行かなきゃ!ってね(笑)。マイクを手にして・・・、あの時が甦ってきたよ。あれぞ、歌ってものだったね。