no1kandrfan
Well-Known Member
Interesting article with Joe. Two of his favorites are For All We Know and Yesterday Once More - had never heard these stories before. Full interview can be found here: http://www.notreble.com/buzz/2012/07/19/stories-behind-the-songs-joe-osborn/
For All We Know
This is a perfect example of listening to the song telling you what to play. Richard [Carpenter] brought in the basic line written out. Karen [Carpenter] was running late, so we were just running down this track. When she started to sing, all those slides and things around the basic part started to come from the vocal. If she hadn’t come in, it would have wound up exactly as what Richard had wrote. It was a pretty line, but it didn’t have all those slurs and things. It becomes almost a bass and vocal duet all of a sudden in those spots, and it’s entirely of what she was singing that those licks came.
Yesterday Once More
Karen played drums on this one. She had a jazz trio before she even knew she could sing. After we did this track, I had already moved to Nashville when Richard called me and said we had to do the first half of the song over, though he liked the second half. He wanted to play the first half and splice it together, because he didn’t want to redo the last half. I said, “Richard, I don’t know if you can.” Going from the front and cutting it in the middle… if the tempo varies any, it’s not going to match. Unless you did it to a click, which we didn’t. He said, “Let’s just try it again anyways.” It’s a real testament to Karen’s time, because it cut together perfectly.
For All We Know
This is a perfect example of listening to the song telling you what to play. Richard [Carpenter] brought in the basic line written out. Karen [Carpenter] was running late, so we were just running down this track. When she started to sing, all those slides and things around the basic part started to come from the vocal. If she hadn’t come in, it would have wound up exactly as what Richard had wrote. It was a pretty line, but it didn’t have all those slurs and things. It becomes almost a bass and vocal duet all of a sudden in those spots, and it’s entirely of what she was singing that those licks came.
Yesterday Once More
Karen played drums on this one. She had a jazz trio before she even knew she could sing. After we did this track, I had already moved to Nashville when Richard called me and said we had to do the first half of the song over, though he liked the second half. He wanted to play the first half and splice it together, because he didn’t want to redo the last half. I said, “Richard, I don’t know if you can.” Going from the front and cutting it in the middle… if the tempo varies any, it’s not going to match. Unless you did it to a click, which we didn’t. He said, “Let’s just try it again anyways.” It’s a real testament to Karen’s time, because it cut together perfectly.
