My last production in 2013!
Showing posts with label 歌 Songs. Show all posts
Showing posts with label 歌 Songs. Show all posts
唱原創還是翻唱歌好?
作為一個真正喜歡唱歌的歌手，並不會執著一定要唱原創或是翻唱歌曲。所有我喜歡的歌，我都想與大家分享! 星期六剛與唱片店的老闆及歌迷會面，大家都很喜歡我部份原創歌曲，尤其是第三首「情真.遊戲」及第四首「似即若離」! 不過，我還有很多舊中文歌想唱，所以第五張大碟將會有更多翻唱歌曲，但如果有適合的新歌或曲風，還是會嘗試的，各適其適!
Merry Christmas, Darling, December 24
I wish you were with us!
Reference: Carpenter, Karen. KIQQ, Los Angeles, California. Interview, 24 December 1978.
As Time Goes By
"Popular songs don't often get a second chance, especially when they fail the first time around. Its inclusion in one of America's best loved movies transformed "As Time Goes By" into one of our most popular songs twelve years after it initially flopped."
Herman Hupfeld wrote "As Time Goes By" for a Broadway musical play in 1931. In the original show, it was sung by Frances Williams. "As Time Goes By" had been part of the story from the original play. When Warner Bros. turned the play into a movie, they kept the song because Warner owned the publishing rights. The song was re-introduced in 1942 in the film "Casablanca", it was sung by Sam (Dooley Wilson) in the movie, but Wilson could neither play piano nor sing. Warner considered giving him lessons but eventually decided to let him sing only and dub his piano playing by pianist Elliot Carpenter. Composer Max Steiner, hired to write the movie's score, thought "As Time Goes By" was weak and conviced the producer to let him write his own composition to replace it, but the actress Ingrid Bergman had already cut her hair short for her next role in another film and could not re-shoot the scenes which incorporated the song. "As Time Goes By" survived by the timing of a haircut.
Herman Hupfeld wrote "As Time Goes By" for a Broadway musical play in 1931. In the original show, it was sung by Frances Williams. "As Time Goes By" had been part of the story from the original play. When Warner Bros. turned the play into a movie, they kept the song because Warner owned the publishing rights. The song was re-introduced in 1942 in the film "Casablanca", it was sung by Sam (Dooley Wilson) in the movie, but Wilson could neither play piano nor sing. Warner considered giving him lessons but eventually decided to let him sing only and dub his piano playing by pianist Elliot Carpenter. Composer Max Steiner, hired to write the movie's score, thought "As Time Goes By" was weak and conviced the producer to let him write his own composition to replace it, but the actress Ingrid Bergman had already cut her hair short for her next role in another film and could not re-shoot the scenes which incorporated the song. "As Time Goes By" survived by the timing of a haircut.
forever young．forever love 青春與愛情
不經不覺已經到了二零零九年的十二月，回想起大約半年前開始構想製作新的一輯英文發燒唱片，結果找來已認識多年的Band友麥皓輪先生(Holun Mak)和他合作無間的音樂好拍擋葉建華先生(Keith Yip)一起監製了《forever young．forever love》這張英文HiFi大碟。他倆是香港樂壇以致發燒唱片界屹立超過二十年而真正懂音樂的少數資深唱片製作人。
「青春」與「愛情」相信是人們一直不變的思考議題。
古詩有云：「只要人心活著，青春總有來時。」青春可比喻美好的時光、珍貴的年華。
在此專輯裡收錄了一首點題作品〈Forever Young〉，其中歌詞道：
「Youth's like diamonds in the sun, and diamonds are forever...」意思是：
「青春就像陽光下的鑽石，而鑽石是永恆的．．．」
那麼何謂愛情？在不同時代有不同的定義。現代定義為:「兩個人基於一定的物質條件和共同的人生理想，在各自內心形成對對方最真摯的仰慕，並渴望對方成為自己終身伴侶的最強烈、穩定、及專一的感情。」很抽象吧?我也似懂非懂。我們都渴望擁有青春，更想擁有愛情，把最美好珍貴的統統留住。我不介意唱別人的歌，能觸動心弦的就是好歌，即使已有成千上萬各有特色的版本，珠玉在前，還是值得一唱再唱，百花齊放。再者現今科技發達，由編曲、彈奏、演唱、錄音，到混音及母帶後期製作，每一部分皆可更上一層樓，精益求精，那怕是再舊的老歌，也可再次勾起點點回憶，甚或當作新歌亦未嘗不可，這樣好歌或許傳揚更久遠，就是永恆。
「青春」與「愛情」相信是人們一直不變的思考議題。
古詩有云：「只要人心活著，青春總有來時。」青春可比喻美好的時光、珍貴的年華。
在此專輯裡收錄了一首點題作品〈Forever Young〉，其中歌詞道：
「Youth's like diamonds in the sun, and diamonds are forever...」意思是：
「青春就像陽光下的鑽石，而鑽石是永恆的．．．」
那麼何謂愛情？在不同時代有不同的定義。現代定義為:「兩個人基於一定的物質條件和共同的人生理想，在各自內心形成對對方最真摯的仰慕，並渴望對方成為自己終身伴侶的最強烈、穩定、及專一的感情。」很抽象吧?我也似懂非懂。我們都渴望擁有青春，更想擁有愛情，把最美好珍貴的統統留住。我不介意唱別人的歌，能觸動心弦的就是好歌，即使已有成千上萬各有特色的版本，珠玉在前，還是值得一唱再唱，百花齊放。再者現今科技發達，由編曲、彈奏、演唱、錄音，到混音及母帶後期製作，每一部分皆可更上一層樓，精益求精，那怕是再舊的老歌，也可再次勾起點點回憶，甚或當作新歌亦未嘗不可，這樣好歌或許傳揚更久遠，就是永恆。
Release Me
最近跟我認識超過十年的唱片監製兼拍擋黎允文(Henry Lai)茶聚開會，他是圈中少有真正有音樂才華的音樂人，對音樂熱誠和執著，是我欣賞和尊敬的音樂朋友，所以每次江湖救急，我對他一定有求必應，義不容辭。除了一次．．．
他近年致力於亞洲電影配樂，作品包括《亞虎》、《猛龍》、《三國之見龍卸甲》等。還記得多年前收到他的一個電話，邀請我為他配樂的一部電影重新演繹一首英文歌〈Release Me〉，他說那首歌很適合我的聲線演繹。那時我還沒有聽過那首歌，不知道那是怎樣的一首歌，是誰唱的也毫無頭緒！幸好分類是我的強項，搜尋是我的僻好！特別是尋找與音樂有關的東西，我會有加倍的耐性。
那時候，要尋找一些不熟悉的東西，著實不是一件容易的事，現在資訊科技發達，足不出户，也能知天下事，確實比以前方便多了。當然最後我必找到那首歌，還意外地發現原來有很多不同的演唱版本！像尋到寶似的，喜出望外之餘，知道Henry原來很了解我的聲線，從那時開始，對他刮目相看。只可惜那時剛巧我與BMG唱片公司有唱片合約，遭到當時的總經理林姍姍反對，說可能未必配合歌手形象，告吹了。那是張國榮與常盤貴子主演的《星月童話》，無緣與已故一代藝術家張國榮先生合作，難免有點唏噓。
還有一段小插曲，那次偶然遇上一位老先生，他很驚訝怎麼一位年輕小姐會懂得欣賞這種老歌，委實心中有愧！
他近年致力於亞洲電影配樂，作品包括《亞虎》、《猛龍》、《三國之見龍卸甲》等。還記得多年前收到他的一個電話，邀請我為他配樂的一部電影重新演繹一首英文歌〈Release Me〉，他說那首歌很適合我的聲線演繹。那時我還沒有聽過那首歌，不知道那是怎樣的一首歌，是誰唱的也毫無頭緒！幸好分類是我的強項，搜尋是我的僻好！特別是尋找與音樂有關的東西，我會有加倍的耐性。
那時候，要尋找一些不熟悉的東西，著實不是一件容易的事，現在資訊科技發達，足不出户，也能知天下事，確實比以前方便多了。當然最後我必找到那首歌，還意外地發現原來有很多不同的演唱版本！像尋到寶似的，喜出望外之餘，知道Henry原來很了解我的聲線，從那時開始，對他刮目相看。只可惜那時剛巧我與BMG唱片公司有唱片合約，遭到當時的總經理林姍姍反對，說可能未必配合歌手形象，告吹了。那是張國榮與常盤貴子主演的《星月童話》，無緣與已故一代藝術家張國榮先生合作，難免有點唏噓。
還有一段小插曲，那次偶然遇上一位老先生，他很驚訝怎麼一位年輕小姐會懂得欣賞這種老歌，委實心中有愧！
Leave and Love
"I have something to tell you
And I know it won't be easy
I've been thinking these past few days
It might be time to leave
You're like a stranger
Then you're a lover
Never the same always hard to believe
I'm caught between goodbye and I love you
Never knowing quite where I stand
I'm caught between goodbye and I love you
Falling both ways nowhere to land
So constantly stranded
I can't understand it
This double life you've handed me
Is like the devil and the deep blue sea
If we go on much longer
If my doubts grow any stronger
Then I may have to let you go
If only to survive
Give me a reason
Why should I stay here
I've tried so hard
Just to keep love alive......"
And I know it won't be easy
I've been thinking these past few days
It might be time to leave
You're like a stranger
Then you're a lover
Never the same always hard to believe
I'm caught between goodbye and I love you
Never knowing quite where I stand
I'm caught between goodbye and I love you
Falling both ways nowhere to land
So constantly stranded
I can't understand it
This double life you've handed me
Is like the devil and the deep blue sea
If we go on much longer
If my doubts grow any stronger
Then I may have to let you go
If only to survive
Give me a reason
Why should I stay here
I've tried so hard
Just to keep love alive......"
Raise Me Up!
很感謝網友Kevin喜歡【猛龍】電影版《When I Dream》，沒想到這首歌會成為一份特別的生日禮物，還有幸成為Kevin個人網頁的背景音樂！
Kevin的話，鼓舞了我，raise me up：
（一）伟人题词
登高眺远 不断突破既有
披坚执锐 努力求索未来
（二）亲朋祝福
感谢在忙碌的生活中仍然记得我生日的亲朋好友.
特别感谢小猪猪同学以上的作品.
（三）名人Gift
最意外的Gift嘛 - 应该算是Astor发来的歌曲了.
＜When I Dream＞是大片＜猛龙＞的主题曲，由我们的Astor演唱.
惊喜之余，就让我把它作为这里的背景音乐，大家一同欣赏吧：）
我的弟弟也是山羊座（摩羯座）的，祝你們事事順利，開開心心！
Kevin的話，鼓舞了我，raise me up：
（一）伟人题词
登高眺远 不断突破既有
披坚执锐 努力求索未来
（二）亲朋祝福
感谢在忙碌的生活中仍然记得我生日的亲朋好友.
特别感谢小猪猪同学以上的作品.
（三）名人Gift
最意外的Gift嘛 - 应该算是Astor发来的歌曲了.
＜When I Dream＞是大片＜猛龙＞的主题曲，由我们的Astor演唱.
惊喜之余，就让我把它作为这里的背景音乐，大家一同欣赏吧：）
我的弟弟也是山羊座（摩羯座）的，祝你們事事順利，開開心心！
版權有限！
近日收到很多來自世界各地的網友來函要求索取我唱過的幾首歌曲，例如《Michelle》、《When I Dream》等，在此再次多謝各位素未謀面的朋友對這些歌曲的喜愛及對小女子的讚賞和鼓勵。不過很抱歉某些新錄的作品由於還未正式推出，版權所限，未必能即時奉上，懇請各網友見諒！
四個喪禮，一個婚禮
以前從沒有到過殯儀館、只到過教堂參加婚禮的我，今年居然遇上：
四個喪禮，一個婚禮！
（真奢望只是電影《Four Weddings and a Funeral》的譯名：
四個婚禮，一個葬禮）
摯友的親人喪禮（「珍惜」篇）；
圈內友人的弟弟喪禮（「節哀順變 」篇）；
投契的友人喪禮；
師母喪禮；（「珍惜」篇）；
形體藝術班同學婚禮（「形體藝術」篇） 。
生平第一次去殯儀館，就是出席在「珍惜」一文提過的那位摯友親人的喪禮。怎料踏入七月節，另一位投契的朋友突然心臟病發，撒手人寰。他是香港其中一間著名公關推廣公司的項目經理，人緣甚佳，他曾經對我說，喜歡和我合唱，因為他很喜歡聽我唱歌。我最後一次見他，就在出事前數天，他說很想聽我唱古巨基的《愛得太遲》，我猜是因為他很喜歡那首歌的歌詞，不過最後跟他合唱了另一首歌，估不到竟成了他的絕唱。記得他出事前毫無先兆，據說是隱性心臟病病發，可憐的是剩下妻子和未滿月的女兒，可惜的是沒有機會送我的唱片給他。
「珍惜」一文中我曾經這樣寫過：「在同一天內分別傳來兩個惡耗，一位尊敬的良師益友的伴侶患上重病和一個相交多年的摯友的親人突然離世。」那投契的友人突然病逝，沈重的心情還沒有平伏，另一個惡耗又接踵而來！患上重病的師母Christine在本年七月二十五日走了。當新聞公告天下後，大家都推測到正是恩師馮添枝的太太陳英癌症惡化，與世長辭。
良師益友歷風
馮添枝先生(Ricky Fung)現為國際唱片業協會(IFPI)香港會總裁，年輕時參與本地流行樂隊The Mystics，負責主音結他，後期加入的主音歌手Don Choi曾灌錄過《Close To You》；樂隊推出過數張唱片，為本地著名樂隊之一。70年初Ricky加入當時剛成立之寶麗金（前身名為寶麗多）唱片公司，其間製作及推廣之歌星包括許冠傑、溫拿樂隊、鄧麗君、關正傑、區瑞強、張學友等，並以「歷風」為筆名替歌手作曲，為人熟悉的作品包括區瑞強的《陌上歸人》、譚詠麟的《柔柔河畔》、《相識非偶然》、《愛在陽光空氣中》等，還有後來加入百代唱片公司(EMI)後替陳美玲作的《如果》，他曾對我說，他很喜愛這首歌，並即場替我伴奏及教我呢！（所以其後我參加CASH流行曲創作大賽並得冠軍，Ricky功不可沒！）Ricky於80年代出任EMI之董事總經理，合作歌星包括崔健、陳百強、陳美玲、鄺美雲等。他的音樂成就及貢獻令他獲得1984年度十大傑出青年獎。
永遠的師母
Christine為人溫婉嫻熟，平易近人。我於去年在香港會議展覽中心製作藤田惠美演唱會，邀請了業界多位好友及知名人士出席，當中包括馮添枝伉儷到場支持。那天的她還精神奕奕，神采飛揚，與01年婚宴時做新娘子的她好像沒有兩樣！那時我還特地選了一位星級新娘化妝師友人替她設計新娘造型化妝，而我和陳美玲這兩個歷風徒弟，也親自現場獻唱祝賀．．．她的美麗端莊，至今仍歷歷在目。
還好，十月會參加一個形體藝術班的同學的婚禮，那天剛巧還是一個好朋友的生日呢！
希望真的只有四個喪禮一個婚禮，然後是生日會！
四個喪禮，一個婚禮！
（真奢望只是電影《Four Weddings and a Funeral》的譯名：
四個婚禮，一個葬禮）
摯友的親人喪禮（「珍惜」篇）；
圈內友人的弟弟喪禮（「節哀順變 」篇）；
投契的友人喪禮；
師母喪禮；（「珍惜」篇）；
形體藝術班同學婚禮（「形體藝術」篇） 。
生平第一次去殯儀館，就是出席在「珍惜」一文提過的那位摯友親人的喪禮。怎料踏入七月節，另一位投契的朋友突然心臟病發，撒手人寰。他是香港其中一間著名公關推廣公司的項目經理，人緣甚佳，他曾經對我說，喜歡和我合唱，因為他很喜歡聽我唱歌。我最後一次見他，就在出事前數天，他說很想聽我唱古巨基的《愛得太遲》，我猜是因為他很喜歡那首歌的歌詞，不過最後跟他合唱了另一首歌，估不到竟成了他的絕唱。記得他出事前毫無先兆，據說是隱性心臟病病發，可憐的是剩下妻子和未滿月的女兒，可惜的是沒有機會送我的唱片給他。
「珍惜」一文中我曾經這樣寫過：「在同一天內分別傳來兩個惡耗，一位尊敬的良師益友的伴侶患上重病和一個相交多年的摯友的親人突然離世。」那投契的友人突然病逝，沈重的心情還沒有平伏，另一個惡耗又接踵而來！患上重病的師母Christine在本年七月二十五日走了。當新聞公告天下後，大家都推測到正是恩師馮添枝的太太陳英癌症惡化，與世長辭。
良師益友歷風
馮添枝先生(Ricky Fung)現為國際唱片業協會(IFPI)香港會總裁，年輕時參與本地流行樂隊The Mystics，負責主音結他，後期加入的主音歌手Don Choi曾灌錄過《Close To You》；樂隊推出過數張唱片，為本地著名樂隊之一。70年初Ricky加入當時剛成立之寶麗金（前身名為寶麗多）唱片公司，其間製作及推廣之歌星包括許冠傑、溫拿樂隊、鄧麗君、關正傑、區瑞強、張學友等，並以「歷風」為筆名替歌手作曲，為人熟悉的作品包括區瑞強的《陌上歸人》、譚詠麟的《柔柔河畔》、《相識非偶然》、《愛在陽光空氣中》等，還有後來加入百代唱片公司(EMI)後替陳美玲作的《如果》，他曾對我說，他很喜愛這首歌，並即場替我伴奏及教我呢！（所以其後我參加CASH流行曲創作大賽並得冠軍，Ricky功不可沒！）Ricky於80年代出任EMI之董事總經理，合作歌星包括崔健、陳百強、陳美玲、鄺美雲等。他的音樂成就及貢獻令他獲得1984年度十大傑出青年獎。
永遠的師母
Christine為人溫婉嫻熟，平易近人。我於去年在香港會議展覽中心製作藤田惠美演唱會，邀請了業界多位好友及知名人士出席，當中包括馮添枝伉儷到場支持。那天的她還精神奕奕，神采飛揚，與01年婚宴時做新娘子的她好像沒有兩樣！那時我還特地選了一位星級新娘化妝師友人替她設計新娘造型化妝，而我和陳美玲這兩個歷風徒弟，也親自現場獻唱祝賀．．．她的美麗端莊，至今仍歷歷在目。
還好，十月會參加一個形體藝術班的同學的婚禮，那天剛巧還是一個好朋友的生日呢！
希望真的只有四個喪禮一個婚禮，然後是生日會！
不愛我的，我不思念
上星期收到朋友的邀請，說有一首原本只有胡琴演奏版的樂曲現填上國語歌詞，名為《不愛我的，我不思念》，希望我可以重新演繹後收錄在新的國語專輯內，並於本年八月十七日（星期五）假香港文化中心音樂廳在一個慶祝香港特別行政區成立十周年之演唱會中獻唱。朋友盛意拳拳說那首歌很適合我的聲線，我有點受寵若驚；當第一次聽到該旋律編奏時，竟是出乎意料的感動！於是一口答應了。
純音樂版名為《愛．思念》，與國語版的歌名相映成趣呢！
純音樂版名為《愛．思念》，與國語版的歌名相映成趣呢！
Crying
水是所有生命生存的重要資源，也是生物重要的基本組成元素。
水是中國古代五行之一，西方古代的四元素也有水。
享有「蘇民峰首徒」之稱的堪輿學家陳子才先生是我的好朋友，他說我命中帶水，有外剛內柔的雙重性格，對事物敏感而感性，是愛哭的女孩，但適應力強，能隨機應變，更有不屈不撓的意志，而且遇強愈強。
「水能沖蝕任何障礙，包括石頭，就算被困住亦能找到出口．．．」
他說得很對！我的感情是內歛的，朋友都說聽我的歌和看我的文字都是含蓄的，像別人的故事，但有弦外之音。重新編唱《Crying》這首Roy Orbison的經典名曲，也是較內歛含蓄演繹的新嘗試，有著另一種不同的感受：
I was alright for a while, I could smile for a while
But I saw you last night, you held my hand so tight
As you stopped to say hello
Are you wished me well, you couldn't tell
That I'd been crying over you, crying over you
Then you said so long, left me standing all alone
Alone and crying, crying, crying, crying
It's hard to understand, but the touch of your hand
Can start me crying
I thought that I was over you, but it's true, so true
I love you even more than I did before, but darling what can I do
For you don't love me, and I'll always be
Crying over you, crying over you
Yes, now you're gone and from this moment on
I'll be crying, crying, crying, crying
Yeah crying, crying, over you...
水是中國古代五行之一，西方古代的四元素也有水。
享有「蘇民峰首徒」之稱的堪輿學家陳子才先生是我的好朋友，他說我命中帶水，有外剛內柔的雙重性格，對事物敏感而感性，是愛哭的女孩，但適應力強，能隨機應變，更有不屈不撓的意志，而且遇強愈強。
「水能沖蝕任何障礙，包括石頭，就算被困住亦能找到出口．．．」
他說得很對！我的感情是內歛的，朋友都說聽我的歌和看我的文字都是含蓄的，像別人的故事，但有弦外之音。重新編唱《Crying》這首Roy Orbison的經典名曲，也是較內歛含蓄演繹的新嘗試，有著另一種不同的感受：
I was alright for a while, I could smile for a while
But I saw you last night, you held my hand so tight
As you stopped to say hello
Are you wished me well, you couldn't tell
That I'd been crying over you, crying over you
Then you said so long, left me standing all alone
Alone and crying, crying, crying, crying
It's hard to understand, but the touch of your hand
Can start me crying
I thought that I was over you, but it's true, so true
I love you even more than I did before, but darling what can I do
For you don't love me, and I'll always be
Crying over you, crying over you
Yes, now you're gone and from this moment on
I'll be crying, crying, crying, crying
Yeah crying, crying, over you...
Yesterday Once More
John Bettis: "I doubt that there is anyone alive who is the oldies fan that Richard is: also, the area of the country that he came from was very much more doo wop oriented than out here. I'm from L.A. and the whole doo wop thing was known here, but it wasn't anywhere near as common or as radio heavy as it was back East. Richard actually educated me to a lot of records that I had kind of overlooked - he educated me into an oldies aficionado. You can't be around him and not know two things, old records and cars, those are the two things that you learn with Richard. The funniest thing about that was the chorus: 'every sha la la la, every wo wo wo' was kind of a dummy lyric that we were singing along, expecting at some point we would lift that and put real words in there, and Richard was kind of surprised. We'd finished the song and he said 'Well, are you going to change this now?'
and I went 'You know what? I don't think so, I think it sounds great this way',
and he said 'Are you kidding?'
I said 'No, this sha la la wo wo wo stuff sounds pretty good',
and I think he had to think about that for a day or two before he really said 'OK'. It's a perfect play in to that era of music, I think."
Top Of The World
Richard Carpenter: "Well every now and again we used steel guitar because I thought it worked so well for Karen's voice. We'd used it on earlier things we did, and I should have used it in 'Reason To Believe' but I didn't think of it at the time. 'Top Of The World' has quite an interesting story surrounding it. It's odd. It was written by one kid from San Pedro (Bettis) and another one from Downey and it's a country song, but when we finished it for the 'A Song For You' album in 1972, all of us thought 'It's an album cut', and we were proved so wrong, for a number of reasons.
Firstly, when we performed it in concert, it got an ovation from the crowd as if it were one of our biggest hits. The Japanese culled it from the LP and released it as a single and it went gold. Lynn Anderson covered it, almost to the note, and it went to Number One in the country chart. Certain stations in the United States were charting it, based on requests alone. We had kids coming to our parents' home asking when it was going to be made into a small record. So we decided it was time to release it as a single. A&M wasn't all that happy about putting it out, so they kind of talked us out of it. Time went by and it just didn't let up, the requests for it and all, and we ultimately did a little alteration to it. We redid the lead, because Karen thought she could sing it better, and I was never totally happy with the steel guitar on the album. So we did the steel guitar over and then Tony (Peluso) came in and did a little guitar work on it, and then we remixed it. And, of course, it went to Number One in all three trade papers in the States and it was a smash."
Rainy Days And Mondays
Paul Williams: "The next Carpenters hit we had was 'Rainy Days And Mondays'. I didn't go into the studio with them; they weren't looking over my shoulder when I was writing the lyrics, so I didn't look over their shoulder when they were recording. So it was always a surprise for me - when they would play something for me, it was usually pretty well done. And I loved the record of 'We've Only Just Begun', but the record of 'Rainy Days And Mondays' I liked much much more. There was something, I don't know if it was the saxophone (played by Bob Messenger, a longtime member of the touring and studio band who backed The Carpenters), or what it was, but it sounded awfully grown up for something that I'd been involved with. And I don't know, there was something about her that was... I guess I had a crush on her, now that I think about it. When you hear that lady sing those words you've got to know there was a little bit of a connection there. I remember her playing at the rehearsal hall and soundstage at A&M, playing me the record and watching me listening to it, and it was a real pretty memory... I was very young then, of course."
Superstar
Richard Carpenter: "I wind down by watching TV, and I'd come home from recording one night and turned on the Johnny Carson Show. He would have Bette Midler (as a) guest quite often, and this was before she was a household name, and on this particular appearance, she sang 'Superstar'. And she sang it more as kind of a modern day torch song, but the song really caught my ear. I thought it was a hit, no two ways about it. There's some that grow on me, and others where I'm kind of on the fence as to whether I think they are or they aren't, but 'Superstar', I really thought it had it all. So we cut it, and it was one of the very few tunes that Karen ever questioned me on. Usually, our tastes were exactly the same and I thought she'd just go crazy over this, and she didn't. So I asked her to just indulge me and sing it and listen to the record as it was being put together, and she changed her mind, it became one of her favourites. It's a haunting melody, it's a great hook, Bonnie Bramlett's lyric is definitely a little off the beaten path, and just as far as the vowel sounds and all, radio and away and all, it worked so perfectly for Karen. We did change one word, in the second verse: 'I can hardly wait to sleep with you again', we thought was just a little bit too much for The Carpenters and their listening audience, so we changed it to 'I can hardly wait to be with you again'. But that remains one of my favourite Carpenters recordings. Amazingly, Karen's vocal was a 'work lead', designed as a run through, but it was so good there was no need to record it again."
Subscribe to:
Posts (Atom)