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Exactly 50 years ago on this date today, this little belter was released …
Almost totally different from anything I’d ever recorded before, either with the band or on my own.
I was contractually committed to Decca Deram to come up with a single for release and as usual left everything to the last minute… so, messing around on my little black upright Knight piano at home in Sunningdale one morning in the late summer of ‘72, and with my inherent love of all motor town, the three chord thematic pattern of B ♭/C…F/C and C major and the left hand pulsed low C rhythm suddenly appeared …
Undoubtably drawn from some Holland Dozier Holland classic Motown chord patterns used in songs like "You Keep Me Hanging On" and "The Onion Song", floating around and stored in my psyche 🤔
The chorus and its lyric then jumped straight out to me … a “gift”, just handed to me, as any writer will tell you, if you persevere and unlock the codes of so called inspiration floating around your own creative galaxy... they are there…. just the small problem of grabbing them…
The verse lyric had to reflect the chorus .. I struggled but got there in the end.
I booked Decca Studio 2 in W Hampstead (where I’d recorded Reflections, Rainbow etc with the band).. got my Gaylords and Marmalade buddies Raymie Duffy and Jessie Knight to play drums and bass .. just the three of us initially .. and the basic track was laid .. engineered by Honest John Burns …
I overdubbed some electric piano figures, and my Fender Strat, chopping 2 and 4 in the bar, Raymie added some percussion, which all helped drive the track.
I then got Pete Zorn to come in and try and emulate a Jnr Walker type alto sax solo which he did, although to record we had to slow the track to fit the range on the instrument to accommodate the high B♭ and A sixth note in the solo, so thats why the sax sounds slightly sped up at normal speed.
Next, I thought girlies would be good for the chorus’ ... girlies are always good .. and was lucky to get 2 belters.. Barry St John and Doris Troy,
( I was the “3rd girl” on the three part harmony … must say it was surreal to stand around a microphone with the great Doris Troy ).
I was fortunate to have all of these people on the track which sounded great in the studio and so I really went for it with the main vocal, with a real hard vocal to try and make it sound authentic.
Many years later, at the Heroes&Villains Concert in ’82 at the then Hammersmith Odeon, the great Chris Farlowe said to me “you really went for it on that song son” … which meant a great deal to me.
The single, on release, was promoted by great plugger and good mate Mike Beaton who had plugged all the Marms stuff at Starlite Artists and it got great reviews and great support from the BBC jocks like Tony Blackburn, Noel Edmunds, DLT, et al incl my pal David Hamilton … it was a big radio hit across the UK and hit the top ten nationally soon after… did well in Europe too ...
Top of the Pops time!! 😎 although unfortunately, (maybe fortunately), all my appearances and of other artists at that time have been wiped by the BBC...
Looking back, and with the benefit of hindsight, it was a bold move, but left me with a big problem … I had to follow it up!!
I didn’t much care for the solo spotlight … and certainly had my fill of touring after a straight ten years with the band.
All I wanted to do was write film music … ungrateful git!
Just 18 months since I had left the band ...
all 50 years ago …