Chapter 68

We boarded our plane at 1:30 Sunday morning, and after they had loaded our luggage, we were on our way to New York City.

When we landed at LaGuardia Airport, we were met by a group from Mr. Sullivan’s show. We finally made it to our rooms at the Delmonico Hotel at 4:45 on Sunday morning.

I heard someone say later, that Ed Sullivan and his wife actually live at the Delmonico Hotel, and eat all their meals in the dining room.

While some were unpacking and some were taking showers or baths, I stripped and fell into bed. Sometime during the morning hours I awakened next to Sherry and Isabel. Then, I awakened an hour later with my cock buried deep inside Stevie’s pussy as she pushed her sexy ass back for more.

“Fuck me, then fuck Isabel. We know we won’t have much time together on this trip, but we need you.”

As soon as we finished eating breakfast in the hotel dining room, our entire group boarded a charter bus that took us to the television studio for rehearsals. Meeting Mr. Ed Sullivan has to be another of the biggest thrills in my life. The man made me feel completely at ease as he showed me around backstage. Then he took me out onstage where the show is televised each Sunday night in front of a live audience.

“Jerry, after meeting with my producers and the administrators from five of our top sponsors, we have decided to devote tonight’s entire show to you and your music. Do you have that many songs you can perform for us tonight?”

“OH YES SIR! And then some.”

“Then, if you’ll meet with our producer, stage hands, and technicians over here, they will help you rehearse and arrange your performance so you can give the audience what they want. And too, just so you’ll know beforehand, we will be transmitting our live broadcast not only to all our local stations across America and Canada, but to many countries overseas...

“Also, there has been a line forming outside the theater entrance since daylight - more than twelve hours before showtime - in an effort to get inside the studio to see you perform in person.”

We spent the next four hours rehearsing. Some of the songs were chosen by the producers and three more were chosen by Mr. Sullivan himself, which he told me were some of his and his wife’s favorites. The rest were left to me, and I’m glad that I get to play my favorite songs on live TV.

We rehearsed the songs in what they called ‘sets’ with five songs per set. After each two sets, we took a break, which will be a commercial break, or a station break, that lasts ninety seconds, then we’ll be back live again. After each break, Mr. Sullivan is going to be onstage to speak for thirty seconds, and actually introduce me again, to the live audience and the television cameras.

The producer, Mr. Stan Williston - told me, “There will be applause each time the lights come on after a break, and also for Mr. Sullivan, when he steps out to announce you each time.

“After each number, there will be applause and you’ll more than likely have to go immediately into your next number, even before the applause stops. I will be offstage to your right, but you’ll be able to see me. In order to get all your songs covered in the one hour time frame, with all the breaks, and pauses - we’ll have to keep you singing...

“We have your actual onstage - on air - performance planned to last approximately forty-five minutes, and that’s what we’ll be shooting for. On your first number, after you have been introduced - you’ll have to watch for my signal to start playing your guitar, or the audience will not stop applauding ... until you start playing and singing.

“I’m not familiar with your previous performances, but I will advise you to go directly from one number into another, with very little time lapse, or we’ll not get all of your planned show on air. I’m sure you know how much time to allow the audience to applaud before you stop them, with the lead in for your next number. If you like, we can rehearse that now, and I’ll signal you after twenty seconds. That will give you approximately twenty-five seconds between each number, including applause...

“I can assure you, and I speak from experience, you will not disappoint your audience by performing more songs...

“Also, we have planned at least three minutes for you and Mr. Sullivan to speak, before your performance - and after... before the curtains close to end the broadcast. I’ve asked Mr. Sullivan to consider letting you close your show, singing one of your favorites as the curtain closes and the stage-lights go out. I’m sure he will bring that up and hopefully let you stand out front, center stage with one spotlight on you, as you wind it down...

“Now, if I see we are running behind, I will wave for you to either shorten your time between songs - or later in the hour, I may signal for you to leave one song off the last set. I’ll take you over now and show you the signs we’ll be using.”

After we had rehearsed the show the first time, with all his instructions, and with him showing me his signs - we were about to rehearse the entire show as it was planned for tonight.

“Jerry, are you comfortable with how we have your performance planned so far?”

“Yes Sir. But I would like to ask you if we can have Joe Delaney come out with his fiddle at the very end of the second set, when we do Faded Love. That one needs the fiddle lead in, and then background all through the lyrics.”

“Let’s get him out here now and run through this one. It’s one of my favorites that you and Joe do together.”

Joe was smiling as he brought my fiddle onstage.

“I wanted to use your fiddle, just to show the folks what a real country fiddle sounds like.”

With Joe sitting on a stool to the left of where I sat with my guitar, he started playing. I had to look around to make sure there wasn’t another fiddle player onstage with us. The sound system here is so different from any we’ve played before.

When we finished that one, not only did all my group stand and applaud, the entire group of stagehands, technicians - and even Mr. Williston, were all still clapping.

I looked around to see Mr. Ed Sullivan clapping his hands as he stood next a group of men - none of which I remember seeing when we started.

Before Joe could put his fiddle down, Mr. Williston rushed over to where we were.

“Jerry, we have a group here from one of the major recording companies, and they have asked if you would do a couple of numbers for them...

“Just so you’ll know in advance, this group of men has asked permission to visit with you, your manager and your current recording executive, if possible.”

“We’ll be glad to do a couple of songs for them, if the songs on our list for tonight. As for meeting with us later, I need to get my sister to come up here and agree to discuss any business deals they may have to offer.”

“Thanks Jerry. The first number they asked for is I can’t Stop Loving You, by Don Gibson.

“The second number they wanted you to do for them is Crazy Arms.”

“Both of those are on our list and we’ll be glad to rehearse them now.”

I turned to ask Joe if he’d accompany me on his guitar, and he had it strapped on and waiting. I love this song, and the more I sing it, the more I try to put my feelings into it on each verse. I know this isn’t the way Don Gibson intended for it to be sung, but this song feels so good to me, when I slow it down to draw each line out as far as I can...