Between 1960 and 1962 Jan Berry — aided by Lou Adler — was relying less and less on echo-heavy recordings, and more on strong production techniques utilizing four-track. As it turned out, this was during the period when Jan and cohort Dean Torrence were beginning to find their stride.
David Beard: When your sound changed and Jan was using less echo and more musicians, your success continued. What do you attribute to your staying power during that market crossover?
Dean Torrence: Being flexible I guess. We were willing to go from doo-wop into something else. There was always somebody that we appreciated or were inspired by to help us make that move. As I’m remembering it – at least for me – it was hearing the Four Seasons that I knew that was the direction that we could go in. There’d be less bomps and more singing and vocal parts. Also, the technology caught up too. We had two-track tape recorders, where we go from machine to machine, soon thereafter we had four-track and we started stacking vocals. When we heard the Four Seasons we realized that we didn’t have to hire background singers to sing that stuff, we could actually mutli-track and sing it ourselves. For us it was actually ending up where we really wanted to be. When we started out we did not particularly want to be the Everly Brothers, or a duo. We were in a group. The vocalists kept going in and going out. Once the technology caught up, and we found that we could actually be a vocal band with just the two of us… That was a revelation.
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