Did I mention that I had a recording deal lined up? Yeh, Simon Jacobs, who does producing as well as recording and all that – he signed me up to do a demo in his high tech studio. This could be the start of my stratospheric popular music career and not before time, frankly.
Now Simon is a very musical chap and has been so for longer than I have known him, which is well north of 40 years. Here, for example, is his latest hit, Ghosts, which he released many weeks ago, but it refuses to fade in the Spotify rankings, still getting infeasible thousands of streams a week on that platform – the YouTube is below so you can also see the vid:
So what, in the name of all that is good and pure, was Simon thinking when he suggested that I record the Warren & Durbin classic, I Only Have Eyes For You. Not in the original Dick Powell pitch/key of C (heck knows that is hard enough for me, even with the sheet music to look at), but nine whole stops up the register in the Art Garfunkel range.
Nine whole stops. That’s like, Notting Hill Gate to South Ruislip, if you are daft enough to go west from Notting Hll. Even Ian Pittaway, my music teacher, who has crazy ideas about my ability to reach high notes, only nudges me three or very occasionally five stops up.
Here’s the result of Simon’s wild musical concept:
The idea for this recording session/evening emerged some six months ago, when Simon and I last dined in Hammersmith…
…and discussed the song, I Only Have Eyes For You, which I butchered lyrically for Casablanca The Musical…
…the revival of which I was just about to go and see in September 2018:
Anyway, Simon said that he much preferred the Art Garfunkel version of the song:
While I complained that even the original Dick Powell was wicked hard for me to play and/or sing.
But Simon insisted that his recording gadgetry could rectify any minor failings in my singing and that he thought he could, with a little effort, turn me into a latter-day Art.
It seemed like a jolly good excuse for a get together and/but life seemed to intervene for a while, so a ridiculous number of months passed before we actually got round to implementing the plan.
On the day, I arrived at Simon’s West London studio, which also doubles as his house, late afternoon/early evening, ready for a rollicking rock’n’roll evening of music.
First up, obviously, we indulged in some appropriate herbal substances; a big mug of tea each, together with some chat about really trendy topics, such a Brexit.
Then down to business with the recording.
I felt a little strange working on that particular song, that particular week. A couple of days earlier I’d been to the funeral of our neighbour, Barry Edson, who was an aficionado of film musicals. I’d had several interesting conversations with Barry about Warren and Durbin songs and Barry had shown me interesting stuff about those song writers from his library-sized collection of books on the topic.
But back to me recording I Only Have Eyes For You in an Art-like style with the help of computerised sound engineering.
Actually it was a very interesting process for me. Simon clearly does this sort of thing a lot, but mostly with his own, not with anyone else’s, voice.
We had a rehearsal run through. Then we took a recording take which sounded crackly. That led to some rearrangement of the microphone, the music and me. I even offered to remove my socks but those lengths were deemed unnecessary.
Then a couple more takes, at which point Simon thought we might try to repair take four with some fragments, but after we’d done that, I suggested one more try at a better straight-through take.
I’m glad I did that, because the final take was, in my opinion, quite a lot better than the previous ones (I realise that notion might be hard for the listener to believe).
Then Simon really got down to doing the sound engineering thing.
It was a bit like having your homework marked in front of the school teacher. On many of my notes, there was a huge amount of vibrato which Simon was able to smooth a bit.
Imagine, as an analogy, someone using fancy software to turn my legendary illegible handwriting into something that looks more like a legible script.
The music software would help each note find its probable home on the scale. But sometimes the thing I had sung was closer to some other note than the note that the purist might fussily describe as the “right” note.
Actually I believe I did sing all the right notes…just not necessarily in the right order.
But it didn’t matter because Simon’s fancy software could shift pretty much whatever I sang to the exact place it belonged on the scale.
On just one occasion did Simon have to say, “I’m not even sure what you’re supposed to be singing there – may I please see the music?” – that was on the second intro couplet, which Art Garfunkle doesn’t sing.
And there is the one note that I strangled so very comprehensively that no amount of tinkering seemed able to repair it. Let’s imagine that I was gulping with emotion on that note.
Then some more listenings and some more tinkerings…
…by which time I was getting quite excited and wondered whether we should try more and more takes, on the basis that my voice seemed to be getting better and better each time.
The conversation then drifted towards artistes who had spent months or even years trying to perfect individual tracks for release.
I wondered whether we might lock ourselves away, perfecting this track, for, say, five years, in order to emerge, not only with a sure-fire hit on our hands, but with Brexit over. Simon thought that five years is probably not long enough…to ensure that Brexit is over with.
Anyway, in case you missed it above, or want to hear it again, here’s the end result:
Timothy then joined me and Simon for dinner at The Brackenbury Wine Rooms, which was a suitably convenient and high quality location for some good food & wine plus some top notch natter. It was a good opportunity to get to know Timothy a little better – the only time I’d met him before was at Simon’s Circle Line album launch, about 18 months ago, which was not an occasion for getting to know people well.
On parting, I suggested dates for me to return to record the rest of the album. But Simon just shook his head politely and solemnly. “A one-off recording deal, that was”, he said.
“Not even a B-side for the single?” I asked.
Simon shook his head politely and solemnly again, as both Simon and Timothy said, “goodbye,” not, “au revoir.”
But…
…and here’s a thing…
…when I listened to the track again the next morning, it sounded far better to me than it had the evening before. I said so to Simon, in a thank you message. Simon’s reply, perhaps similarly inspired by a re-listening:
Glad you like your recorded performance! Do let me know when you’re ready to record your whole album!!
So now I have an album deal lined up? Yeh, that well-known music producer Simon Jacobs…this must be the next stage of my stratospheric popular music career and not before time, frankly.
.jpg)
