In 1962 I had the extraordinary experience of playing one of the largest stages on the East Coast: the Radio City Music Hall of New York. I was there for six weeks, seven days a week, four times a day, in front of more than 6000 spectators at a time. This was fantastic and exhilarating. And in 1963 at a cocktail party, I had the luck to meet a man who for me was Merin the Wizard: WALT DISNEY. We had several long conversations during which he explained his views on the search for a perfect creation. He would say things like, "You must never let your creation get out of control. You must always improve it. Work, without respite. Perfect your work without interruption, without allowing random events to direct you." He was an inspired person, a true giant of professionalism and one who could always be called a "great initiate." He always encouraged me to go further in my research and to be a perfectionist- I owe him a lot and pledge him eternal respect and veneration. Unfortunately, Walt left us in 1966, but for me his is till alive. Thanks again, Walt, for your teaching and your advice which I always try to follow to a "T"! your suggesions and your advice were so precious and were always infinitely helpful to me during my entire career.

In 1964 at Carroll's I met a musician and composer of great talent, GERSHON KINGSLEY, and we became associates for a while. Together, using my new process of rhythmic sequences of musique concrete, we elaborated the material necessary to the realization of an LP of 12 original pieces for the Vanguard Record Company, The In Sound from Way Out. This was followed by a second album, Kaleidoscopic Vibrations, played on the Ondioline and the Moog Synthesizer. These 2 albums were reissued in 1988 on one compact disc called THE ESSENTIAL PERREY AND KINGSLEY. One of these titles of this second album, "Baroque Hoedown," is still used at Disneyland in the Main Street electric parade. Another title, "The Savers," became the basis for a TV commercial which in 1968 won the prestigious Clio Award. Gershon and I had met ROBERT MOOG in New York, and we made a number of TV appearances and commercials using the Moog synthesizer and the Ondioline.

I also keep an unforgettable memory of my sojourn to Montreal in 1965, when my stage number, "Around the World in 80 Ways," was produced at the Salle Bonaventure. It met with a lot of success and I appeared on several Canadian TV shows. In montreal I encountered my friend the stage magician Michel De La Vega, whom I had first met in Paris while studying at medical school. We collaborated on numerous TV shows. I then distanced myself from stage music and jingle production to spend more time researching the influence of sound on the human body, and created my second "sleep" record. (Note: I must say that I love and admire American a lot. It is the rare country where one finds professionalism and exemplary perfectionism in the field of show business and in the artistic world in general. Artists are considered real human beings and not "products" used to make money, as they are in France-especially at this time. I understand how one would be proud to say, "I am an American citizen.")

Anyway...I would return to France, sometimes twice a year. The fairy tale was continuing, because thanks to my stage number, I could travle for free First Class on the magnificent cruise liner, S.S. France, in exchange for 3 shows per cruise. So I was living the true life of a billionaire without being one. From 1962-1970 I did 18 round trips on the S.S. France, and met great personalities such as Alfred Hitchcock, who was a fascinating man, unusual and unpredictable. One never knew if he were joking or talking seriously. He was very impressed by the Ondioline and interested in my research; he encouraged me to continue. I met many other interesting personalities, but the list would be too long...

Each time I went to Europe, after only a few weeks I would return to New York, which attracted me like a magnet. I was always possessed by an intense desire to create...by an unqenchable thirst to accomplish more. I felt like I was living a hundred miles an hour. I was literally treating each day as if it were "the first day of the rest of my life."

In 1968 I began working with Laurie Productions in NewYork-a great team of professionals including my friend John Mack and composer Dave Mulaney. We did TV commericals together, and at this time I recorded my 4th album on the Vanguard label, Moog Indigo. I was at the apogee of my American career-this was "the good life." I cherish vivid memories of the '60s, not only because it was a time of great personal success, but because it was a prolific period for music in general. There have been other great "golden ages": Mozart, Johann Strauss and Offenbach have marked their eras by infusing humor into music. but in the '60s, humor sparkled in the music like champagne...