Andy Greene
View all posts by Andy Greene May 3, 2026
Bill Medley and Bucky Heard perform at the Righteous Brothers. Medley looks back at his improbably career. Bryan Steffy/Getty Images Rolling Stone‘s interview series Last Man Standing features long-form conversations between senior writer Andy Greene and musicians who are the last remaining members of iconic bands. In some cases, they are the only classic-era member in the current touring lineup. In others, they are the only ones still alive. In either case, the task of keeping the torch lit has fallen onto their shoulders, whether they wanted that responsibility or not.
Not every music fan knows the name Bill Medley, but they nearly all know his raspy, bass-baritone voice. If you came of age in the Sixties, you know him as one half of the Righteous Brothers, the one who does the heavy vocal lifting on “You’ve Lost That Lovin’ Feeling.” If you were around in the Seventies, you’ll remember the duo’s comeback hit “Rock and Roll Heaven.” And for those of you a bit younger, he’s Jennifer Warnes’ duet partner on “(I’ve Had) The Time of My Life” from the Dirty Dancing soundtrack.
As popular as the Righteous Brothers were in the Sixties, where they opened for both the Beatles and the Rolling Stones on their inaugural U.S. tours, they had a very improbable comeback a couple of decades later that made them even bigger. “Thank God for the end of the Eighties,” Medley says. “They put ‘Lovin’ Feelin'” in Top Gun, I did that song for Dirty Dancing, and they put ‘Unchained Melody’ in Ghost. That was a good size hit in the Sixties, but boy, that song, just because of the movie, had a whole different life.”
The duo dissolved just months after they were inducted into the Rock & Roll Hall of Fame in 2003 when Bobby Hatfield, Medley’s partner in the Righteous Brothers, died of a cocaine-induced heart attack. But Medley reformed the act in 2016 with singer Bucky Heard at his side.
They’re in the middle of a U.S. tour, but we caught up with Medley during some down time to discuss the long history of the Righteous Brothers, the comeback period, overcoming the loss of Hatfield, his friendship with Elvis Presley, and why he hopes to never retire.
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Medley is a few months shy of his 86th birthday, but he remains remarkably sharp, with a near encyclopedic memory for names, places, and events of the distant past, and just a few years back. When he hopped on the Zoom, he’d just gotten off the Flower Power Cruise where the Righteous Brothers shared the bill with Micky Dolenz, the Lovin’ Spoonful, the Rascals, and Canned Heat.
How was the cruise? Well, a cruise is a cruise. It was fine. I got to see a lot of guys I haven’t seen in a long time, a lot of great musicians. I like it for that.
What’s it like singing on a moving boat? You’ve got to be very cautious. I mean, boy, sometimes it’ll just blow you right off your feet. I had to wear tennis shoes this time just to anchor my feet. I usually wear cowboy boots, but they would have been like roller skates.
Let’s go through some history. Do you recall the first time you realized that you and Bobby Hatfield had chemistry on stage? We knew it worked right away. Bobby and I were raised on rhythm and blues, which is odd for a couple of white guys from Orange County. But we could dial in [groundbreaking R&B DJ] Hunter Hancock from L.A. I was in love with that music.
When Bobby and I first started singing together, we were just two guys with one voice. It was just unbelievable. And he was a great harmony singer, Bobby. And a lot of Black Marines started coming to our nightclub. We knew there was something there.
Then I had written a song, “Little Latin Lupe Lu.” And we went to a teenage place, the Rendezvous Ballroom, and the kids loved that song. They went out and bought it. I think we were a little more emotional in ’63 than what they were used to. And I think it was comforting to a lot of those kids, saying, “Man, that’s how I feel.”
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It’s pretty crazy this little single you wrote at 19 became a hit. Yeah. I wrote it because I dated a girl, Lupe Laguna. I taught it to Bobby when we were in the club, and everybody just loved to dance to that song. A good friend of mine that owned a record company down there in Orange County called Moonglow Records came in to see me. “Boy,” he said, “I love that song.”
We were the Paramours then, and there was five of us. And he asked us to record it. So we went into the studio, recorded “Little Latin Lupe Lu.” But the Paramours were five guys, and this was just Bobby and I. So we needed a name.
Like I said, Orange County was very white in those days. It was like Happy Days in the Fifties. But there was a Marine base there, El Toro Marine base, where a lot of the Black Marines heard that there was these two guys out at the club singing rhythm and blues. And they would come down to the club to see us. And if you had a great ’55 Chevrolet, well, a Black guy would probably say, “Boy, what a righteous looking car,” which meant good-looking car. Well, us white guys would’ve probably said, “What a cool looking car,” or, “What a bitching looking car.”
And if they liked you as a friend, they’d call you a brother. When we would see them, they’d say, “Hey, righteous brother, how you doing?” Which meant good friend. And so we decided because nobody called us the Beatles, maybe we’ll go with that Righteous Brother thing. And it worked.
Speaking of the Beatles, how did you wind up opening for them on their first U.S. tour in 1964? That’s a great question, and I’m not sure. We were having West Coast hits with “Little Latin Lupe Lu,” “My Babe,” “Koko Joe,” and stuff like that. We had made a couple of albums on Moonglow. And apparently, a lot of the garage bands in England and the U.K. were listening to the Righteous Brothers albums. I don’t know. I never did find out. I would love to run into Paul or Ringo and say, “How did we end up on your tour?”
The Beatles always said they couldn’t hear each other on those stadium stages since the audio setup was so primitive, and the girls were screaming the whole time. I felt bad for the Beatles. They were really surprised, and it was a drag for them. When we were on, they’d be clapping and screaming, “We want the Beatles!” So it was like the bootcamp of rock & roll. But the Beatles were great guys. And a couple of years after the tour, we realized that we had front row seats to history.
Did you meet the guys? Talk to them much? Didn’t talk to them much. I mean, we were all on the same plane. And we took our own guitar player, Barry Rillera, on the tour with us. We would go on right before the Beatles. And we would do a song called “My Babe,” which our guitar player would just do a solo and kill it. And they came back and George said, “Who’s taking the guitar solo on ‘My Babe?'” We said, “Barry.” So he talked to George for a long time and told him how to get those high strings where you can bend them. I think he told them to use banjo strings.
We talked to the guys and it was very friendly, and very, very cool, but it was so odd what that tour was. And I know the guys were not irritated. They were just more confused that the fans weren’t listening to them play. They were just more interested in seeing them.
You opened for the Rolling Stones on their first U.S. tour later that same year. How was that experience different? When we opened for the Stones, they hadn’t really made it yet. And like I said, we were having a lot of success on the West Coast doing rhythm and blues and rock & roll. And the Stones did ask for us. And it was just different because there wasn’t all that screaming. The Stones were a little edgier of a band, and we were a little edgier, so it worked out great, and they were just great guys. And before long, they were maybe the biggest band in the world.
It’s crazy that we’re talking 62 years later after those tours, and the Stones are still making music, you’re still touring, and Paul and Ringo are both very active as well. I’m asked all the time, “When you’re going to retire?” I say, “I have to get a job first.” I mean, this is a 15-year-old boy’s dream. If you love the music, there’s no reason to stop.
What were your initial impressions of Phil Spector when you first met him? He was a little odd, but not as odd as you would think. And I think because he did mainly girl groups like the Ronettes and Darlene Love, when we were told that he wanted to produce us, we weren’t sure because we were a rock & roll group.
But you know what? I think he wanted people to think he was real eccentric in those days. And he was, I mean, you have to be a little eccentric to want people to think you’re nuts, but I think he worked his way into it.
When he worked with us, we were a couple of street guys, and he knew that. So he was not cautious around us, but just real business-like. He was wonderful to work with because he was just a flat-out genius, a genius at what he was doing at that Wall of Sound. I watched him in the studio, and he was just remarkable.
Do you recall first hearing “You’ve Lost That Lovin’ Feelin'”? When we finished it, we took it home and started listening to it. We thought, “Wow. What a great song.” Because it was a great song. It was written by Barry [Mann] and Cynthia [Weil], so I can say it’s a great song. I didn’t write it, but we thought it couldn’t be a hit because it was too long and I was singing in my baritone voice, and that was unusual at the time. We just thought, “Well, it won’t be a hit, but what a great record.”
Who had the idea to cover “Unchained Melody?” Well, Bobby Hatfield had a band in Orange County, and I had a band in Orange County. In his band, he would do “Unchained Melody” because he learned it from Roy Hamilton in the the Fifties. And so when we did the Just Once in My Life album, Phil Spector asked me to produce the album because he would spend too much time on it, and there was too much money doing the singles.
On the albums, Bobby would always do a song by himself and I would do a song by myself, mainly because we could only come up with so many duets. And Bobby wanted to do “Unchained Melody.” So I accidentally produced “Unchained Melody” because it was on the album. Phil Spector put it on the B-side of a song called “Hung on You” that he produced. And for some reason, the disc jockeys just all over the country flipped it over and started playing “Unchained Melody.”
A story circulates online that you guys flipped a coin to see who would sing “Unchained Melody,” but I imagine that’s just an urban legend. It’s an urban legend. Bobby wanted to do the song. I mean, I would’ve loved to do it. I loved the song. Actually, I do it in our show now, only because Bobby’s not here.
Most of Phil Spector’s acts had a real hard time scoring hits once the British Invasion hit. But it didn’t really impact the two of you as much at first. Yeah. I can remember looking at the Billboard chart, and in the top 50, every one of the hit songs were English except “Unchained Melody.” It was so weird because “Unchained Melody” is just this sweet, beautiful song. Bobby just sang the hell out of it. And it became a whole different record to a different generation.
Most people presume that Phil Spector produced “(You’re My) Soul and Inspiration” since it sounds so much like his style, but it’s actually you. We left Phil. Actually, we didn’t want to leave Phil, but Moonglow Records and Phil Spector Records got into this argument. Phil says, “We got to get in the studio.” Moonglow’s saying, “No, you can’t go.” Then MGM said, “We’ll give you a million dollars to come with us.” So they answered that question.
But I didn’t want to leave Phil because I knew the job of producing was going to end up in my lap. And I’m not a producer. When we went off to MGM, I called Barry and Cynthia because we were working on “Soul and Inspiration.” It was supposed to follow “You’ve Lost That Lovin’ Feelin’,” but Phil and Barry and Cynthia got into some disagreement and we were all of a sudden back in California working with Carol King.
When we left Phil, I called Barry and I said, “Where’s that song? I think it was called ‘Soul and Inspiration.'” They said, “We didn’t even finish it.” I said, “Finish it and send it.” I went in the studio, and because I watched Phil produce “Lovin’ Feelin'” and all that stuff in the studio, I just did what I thought Phil would do, and what the song needed. It was written to be that kind of song.
Why did you guys break up for the first time in 1968? I don’t know what you would call that music, but it was the hippie movement.
Psychedelia? Yeah. They had the long hair, beards, this, that. And so anytime a new craze comes in and you were in the last craze, then you’re considered the corny guys from the past. And so we were having trouble getting our stuff played. I started out as a songwriter, and ended up to be a singer-songwriter. So I really wanted to go back and finish that dream. And so I left the Righteous Brothers in ’68.
What led to the “Rock and Roll Heaven” reunion period in the 1970s? I’m going to tell you the truth. In ’72, ’73, right in there, I had lost my voice. I was told that I would never sing again. I was in Vegas doing three shows a night. I was working at the Hilton where Elvis was playing. And Elvis would have me over every time he was there. And so my manager came in to redo my deal. He said, “Bill, you’ve got to retire.” And Bobby was having some financial problems. And so I met with Bobby. I said, “Listen, let’s go back together. Let’s make a couple of million dollars a piece and we will retire.” Because I was told I’d never sing again. I was told that by two of the biggest doctors in L.A. But with that voice, we did “Rock and Roll Heaven,” so my voice wasn’t totally gone. And then I got my voice back.
And I think “Rock and Roll Heaven” was a hit by the Climax band earlier. And so Dennis Lambert and Brian Potter, who owned Haven Records, they rewrote it a little bit to bring it up to date. They were in a real hurry to do it. We hadn’t even signed with them yet.
We ran into the studio, they released it, and it was probably the quickest hit we ever had. It just went right up the charts. It was a good record, but between you and me and whoever else is listening, we didn’t necessarily think it was a good Righteous Brothers record. It was just a little different.
But we had done another song on that album called “Dream On,” which would’ve been a great Righteous Brother hit. And all the disc jockeys wanted that to be the next one because it was a good Righteous Brother record. It was a great song.
“Rock and Roll Heaven” became a big hit, but I don’t believe it really did much for our career. With “Lovin’ Feelin’,” I called Barry Mann and Cynthia Weil and said, “You didn’t write us a hit song, you wrote us a career.” “Rock and Roll Heaven” was just a great commercial record. People weren’t going to get babysitters and come out and see you do it.
Most people don’t know that you recorded “Don’t Know Much” before Linda Ronstadt and Aaron Neville. It’s one of the really great songs. I loved singing it and I loved recording it. I went in with Barry Mann, who had became a real good friend of mine. I said, “Okay, play me the song you’re saving for yourself when you record.” And he played me “Don’t Know Much.” And God, I just loved it. And it was a good song for me to do, and I related to it a lot.
I remember I did the song, I added in “hey baby.” And Cynthia called me and said, “Bill, why did you say baby?” I said, “I’ve said baby in every song I’ve ever recorded.” And she said, “But it’s a spiritual song.” I said, “Geez, I didn’t know that. I’m sorry.” And then Linda and Aaron, they recorded it, and it became this huge love song.
Top Gun was obviously a huge boost for the Righteous Brothers. Yeah. That was 1986. Then Dirty Dancing, ’88, and Ghost was ’90. We were back bigger than ever. Kids used to go home to their parents and say, “You got to hear this new group, the Righteous Brothers.” They said, “You’re here because of the Righteous Brothers.”
Nothing can boost a song like a really big movie. It’s better than radio or really anything. It’s just the most amazing thing that can happen to you. And those movies were three of the biggest movies of that era. So in 1990, we were bigger than we ever were. And so we put it back together and went out and performed until Bobby passed in ’03.
Unlike the others, Dirty Dancing featured a brand new song with you. “I’ve Had the Time of My Life” was just in the perfect place of Dirty Dancing. It was the last song, and it was the big thing. So kids were just walking out of the theater and going and buying that record. It was just amazing.
Did it strike you as a hit when you first heard it? No. They had called me to do it, and I couldn’t do it because Paula, my wife, was expecting our child. And I told them that I promised my wife I would be home for the birth. And so I turned it down. They sent me the song, and the guys that were singing it that wrote it, great songwriters, but they were singing real high. I just didn’t hear it for us.
Paula finally had the baby. And they said, “Well, Jennifer Warnes wants to do it if she can sing it with you.” And I loved Jennifer Warnes. She had just had that hit with Joe Cocker, “Up Where We Belong.” I felt like we could be like Beauty and the Beast, me going to be the beast, she’s the beauty.
And so Jennifer and I really did the song just to work together. It was considered a small, little movie. And when they asked me to do it, I said, “I can’t do it, but what’s the name of the movie?” They said, Dirty Dancing. I said, “That sounds like a bad porno movie.” I said, “Well, who’s in it?” And they said, “Patrick Swayze and Jennifer Grey.” I said, “Who’s that?”
I know Patrick was on the rise and, Dirty Dancing took them over the top. And Jimmy Ienner had produced the song. Jennifer and I went into the studio and gave them about 15 tracks of us doing it this way and that way. And they put it all together, and they just made a great record. And the movie just became an animal of itself.
It must have been surreal to look at the Billboard chart and see Whitney Houston, George Michael, Michael Jackson, and then your name on top. Yeah. Well, that’s always been weird to me. But yeah, the Righteous Brothers and even myself with “Time of My Life,” they just both happened at the strangest times. We were singing “Unchained Melody” right in the middle of the English craze. And yeah, listen,”Time of My Life” would not have been a hit if it wasn’t in that movie, I wouldn’t think.
What was the tour like? They put together the Dirty Dancing tour, and they asked me to do it. Jennifer didn’t want to do it or had other things that she had to do. I think there was four or five acts with dancers and all of the above. So the tour was fun to do because there were great people doing it. But once again, it was a lot of younger kids. And so to be involved in “Unchained Melody” with this new generation, then “Time of My Life” with another generation, it’s just been a blessed career.
I’m from Cleveland and I’ve seen Major League more times than I can count, so I love “Most of All.” Maybe the best song I’ve ever recorded.
Really? Oh, yeah. I just absolutely loved it. I loved the movie. But that’s just a great, great song musically. Boy, what a great song.
As a kid, I had no idea you were singing the theme song to Just the Ten of Us. I don’t know why they would always come to me to do movie or TV songs. I guess they thought my voice grabbed attention or something. That’s what I was told. Or maybe I made it up.
It meant your voice was just everywhere in that time period. Listen, I’m very much a spiritual guy, and my career has just been a God thing. Like putting Bobby Hatfield and myself together, and I’m a bass singer and he’s a first tenor. I mean, that isn’t something that you do. And there were two white guys from Orange County, and they wouldn’t play us because Black stations wouldn’t play us because we weren’t Black. White stations wouldn’t play us because they thought we were Black. And so my career has just been remarkable. I’ve had the pleasure and honor of doing some great, great songs.
You guys had an amazing Hall of Fame performance. What was that night like? It was phenomenal for a lot of reasons. First off, we didn’t think we would go in the Rock & Roll Hall of Fame because Phil Spector was very involved in it at that time, and he didn’t want any of his acts to go in because he wanted all the credit. So the minute he went into prison, we went into the Hall of Fame. And so did the Ronettes and Darlene and all of his acts.
But to do the show and be there that night…Elton John and Sting, and just a lot of great performers that we loved were coming up to us to say, “We learned from you guys, this and that.” And so that was remarkable. And then Paul Shaffer put that band together. I can remember when we rehearsed it. I sang, “And you never close your eyes,” and this band comes in that sounded like the record. In my mind, you’re never going to be able to do this live as a record, but he did a phenomenal job.
How did you feel watching Phil Spector get put on trial for murder? It was really weird because I knew that Phil would do the thing with the guns to a lot of women. But I always thought that that wasn’t a murder. I thought it was a tragic mistake, an accident. But I knew because of Phil’s ego that he wasn’t going to go down like it was a mistake. “She committed suicide.” Well, that didn’t make any friggin’ sense.
And so to watch that, I just felt like I knew the real story. And to watch it on TV and watch him try to do this act, I thought it was horrible. And she was a big, strong girl. And he might’ve wanted to have sex or something, and she might’ve just said, “Listen, you little twerp. I don’t care what you … ” And he might’ve just gotten pissed off enough to do something remarkably stupid. It’s so sad for her and her family. It’s terrible for everybody.
Bobby died shortly after the Hall induction. That timing… I think it was in March we went into the Hall of Fame. And November, Bobby passed away the same year. So it was the high and the low in one year. And it was really dramatic. It was really way up high and way down low. And to screw your head onto any of it was really impossible to do.
I always knew when we would break up, I think we broke up a couple of times, that we’d get back together again. But when Bobby passed away, man, it was done. I performed for about 13 years before I heard Bucky Heard and put the Righteous Brothers back together.
What’s it like emotionally for you every night when you’re singing “Unchained Melody” with photos of Bobby behind you? It’s very tough. And I learned immediately to never watch the video because it just kicks up too much emotion and I couldn’t get through the song. I knew what it was doing and I just tried to gear into the song.
Tell me about meeting Bucky Heard and realizing he was the right fit. I’d had my manager and my family and friends and other guys in the business saying, “You got to re-form the Righteous Brothers because people want to hear those songs.” And Bobby had been gone 13 years. I was doing some work in Branson, Missouri. Bucky Heard was there doing that too. Actually, he was doing the Blues Brothers.
We became friends because he had a band that would work after the shows called the Horn Dogs. And it was a horn band, and it was great. It was Blood, Sweat, and Tears to the max. I would go in and see him. And then I saw him at a friend’s wedding. He said, “Bill, I’m leaving. I’m not going to be doing John Belushi. I’m moving down to this other theater and I’m going to be doing kind of a tribute to Journey.” I said, “Journey?”
Steve Perry’s probably one of the greatest singers to come out of the industry. I said, “Wow.” Because he was doing Belushi and you don’t have to be brilliant to do because it was more a visual thing. So to go from Belushi to Steve Perry…I was at the dinner that night that he was opening. I said, “Well, let’s go see Bucky. I want to go and watch him die. If he’s going to do those songs, I don’t know what he’s going to do.” That’s because if I did it, I’d have to do it about two octave lower. But boy, I went in and saw, and he just killed it. And he had that voice.
He was a big Bobby Hatfield fan. I was taking a walk around the lake the next day, and I said, “Man, if I was going to do it, that would be the guy,” obviously because vocally he could do it, and do the hell out of it. And I said to him, “I don’t want you to sound like Bobby. I just want you to sing like Bobby.” We had a three-month deal at Harrah’s in Vegas. So we put it together for a three-month deal, but it just worked. I mean, I didn’t realize that so many people wanted to keep living those songs.
You’ve played Vegas a lot over the years. I’m sure you’ve seen it go through a lot of changes. In the early Sixties, Vegas was considered what they would call a plastic gig. “You’re not going to work Vegas? That’s corny. That’s stupid.” When “Lovin’ Feelin'” was Number One, our manager said, “Go work Vegas.” We said, “No, no, because we’re getting these great offers.”
But we did. Sinatra was in the main room at the Sands, and we were in the lounge. It seated 600 people or something. And he was right. He said, “Because you will have Vegas for the rest of your life. A career is up and down, but if you got Vegas, it’s like this.” And it sounds like I’m being a whore, but it was a way to keep working and keep doing your thing.
I just saw the new Elvis in Concert movie, which shot largely in Vegas. I didn’t quite realize how spectacular he was in that period until I saw it on the big screen. Yeah, absolutely amazing. He became a real good friend because he was in the main room and I was in this lounge by myself. He would call me almost every night, say, “Come on down to my dressing room,” before his 12:00 show. So I would go down, it would just be Elvis and I and his hairdresser. And we just became really good friends because I was a motorcycle guy in the dirt, not in the street, that scared me to death. And he was a motorcycle guy. We also loved gospel music, and he loved bass singers and he thought I was a bass singer.
But he said, “Come and watch me go onstage.” So I went up to see him and they started putting him together, getting him his clothes, and so I kind of backed off. And this sounds corny, but it’s the God’s truth, I was waiting for him to go onstage and he was in the shadows. I stood back about 10 feet. And the crowd’s going crazy, and I said to myself, “Holy crap, that’s Elvis Presley.” I mean, we became such good friends as Bill and Elvis. But when the crowd started screaming, and I got excited, he became something else.
It’s so awful he was just 42 when he died. It shouldn’t have happened. No, it shouldn’t have happened. And I don’t know if I should tell this, but one night I was in his dressing room and there wasn’t a lot of people around yet. And I’ve got a sinus attack. He brought out this box and he opened it up and it was all pills. He said, “Do you want any of them?” I said, “No, no, no, thanks.” He said, “No, I really know what I’m doing.” I said, “No thanks.”
The last time I saw him, was at a show. He was sitting in the staircase, just wasted. And I don’t think pill wasted or anything, but sweating. He just did the show. And he was sitting there talking to one of the Sweet Inspirations, and I was getting ready to leave. “Bill,” he says, “It’s going to be all right.” And I was losing my voice at the time, so I didn’t know if he was talking about me, but then later I knew he was talking about himself because he knew I was hearing a lot of gossip and this and that.
He looked down on people who smoked marijuana, but didn’t understand the pills were a million times more dangerous. Absolutely. I mean, the Righteous Brothers came up in all that era. And I’d smoked marijuana for three months in 1970, and it was the best sleep I ever got. I was so busy producing and this and that, and marijuana just wasn’t doing it for me. It just made me tired. And probably because I’m a chicken, I think the whole thing scared me, being out of my body.
You announced a farewell tour a few years ago. Is the tour you’re on still a farewell tour? Yeah. It’ll probably even take a couple of more years. We have some contracts to fulfill and there’s some places that I want to work. You announce a farewell tour, and then it becomes a whole different animal. And like Cher, I say, “Wait a minute, do I really want to retire?” And my voice, for some reason, has just been getting better and better. I’m 85 years old, probably been singing better than I have in 40 years. But we are on a farewell tour.
Do you know when it might end? Man, I wish I could answer that question because I would like people to know, “Listen, this is what it is.” But because when we were having hit records in the Sixties, we would also discuss what we were going to do when the fad was over. “Are we going to go back to delivering furniture? What are we going to do?” So to think, even in the Dirty Dancing times, or the Nineties that I would be singing onstage at 85, going to be 86 in September… I would have said, “That isn’t going to happen.” But as long as the audience is there and they love it, and I can pull it off… I’ve told my manager, “Once I’m embarrassing myself, you come and take me and take me off-stage.”
You’re in remarkable shape for 85. What’s the secret to good health at that age? Boy, I don’t know. I mean, I mentioned that my faith is very strong. It’s just a God thing. And I don’t know why I’m at 85 years old, still singing.
I didn’t do a lot of booze. I drank a lot of beer in the Seventies and probably Eighties, and then I quit that. So I’d like to tell you that I lived a good, clean life, but I don’t know how you can be in this business and do that unless you’re Pat Boone.
The truth is, I’ve just had a pacemaker put in because I have AFib. And in a couple of weeks I’m having what they call an ablation operation, which kind of hooks the heart to the monitor. I just take care of myself. I’m not one of those guys that says “my arm hurts” and then complains about it for nine years. I go to the doctor immediately.
