EARWORM! Angel And The Badman | Soul Smithy
Le site des fans de Lee Hazlewood, Le vrai génie créatif de la scène Il a même essayé de laisser Frankie Laine utiliser ses chansons" rappelle que Al Casey. . record a couple of acts and I had a good relationship with the Bihari Brothers at .. Nine albums of Nancy Sinatra produced by Lee for Reprise records were in. These 20 duos have stood the test of time, even if their relationship was . Lee Hazelwood revived Nancy Sinatra's flagging career with "These. The daughter of Frank Sinatra, Nancy Sinatra is an American singer Most of her hits were produced by Lee Hazlewood, and from
Given all this, and the enduring appeal of Ol' Blue Eyes, I have to ask: More normal than you might expect, it turns out. We were living in a flat in New Jersey when I was born. They didn't have any money. But once he hit, he really hit. Later, we moved to Hasbrouck Heights and had a lovely little house there, but you could get to the windows from the street - once people knew he lived there, they would come to get a glimpse, which worried my mother [Sinatra's first wife, Nancy Barbato] because I was a tiny little toddler, and she didn't want anybody stealing me from the front yard.
When the Hollywood studios came calling for Frank, it was time to make the move out west. It was such a great childhood. We had this huge lake and a kayak and a little sailboat and a big raft and a rowboat. She studied music from the age of six: Because you didn't have sex in those days if you weren't married - at least, not if you were a good girl.
He said to me - wise words - 'Just stay away from what I do. It was an exhilarating time to be in LA. The city was full of money, music and the conviction that everyone was just one hit away from the big time. Hazlewood met the year-old Hokom at the Hollywood restaurant Martoni's, a bustling music industry hangout. It was a caricature he created. He liked to talk like a country guy who didn't have a dime, but then if he bought a car it had to be the biggest, longest car.
The label's logo, a classical Greek profile, was based on a necklace Hazlewood bought for Hokom while on holiday in Mexico. When she loaned it to Light in the Attic to photograph for the box set, she had to explain that it was chipped when she threw it at him during a heated spat.
Hazlewood had a nose for untested talent. He offered Texas-born radio DJ Tom Thacker the job of vice-president after a game of football at a friend's house.
'I made Sinatra's daughter sound like a tough broad'
He was an unorthodox boss. His private office had blackout blinds and he liked to turn up for work around midday. One morning he came in early and found Thacker already at his desk. Horrified, Hazlewood ordered him to take the rest of the day off. And I'd never seen anyone with a moustache like that. He was very Texan. He was very sweet and embracing of us: LHI signed artists at such a rate that even the staff couldn't keep track.
They're gonna make you invisible too! Hazlewood's approach was to record singles as quickly and cheaply as possible and hope some of them took off. It was challenging, especially when you're the only girl who's doing that.
Mark Pickerel It was a well-oiled machine but it wasn't producing the goods. The only signing who went on to bigger things was country-rock pioneer Gram Parsonswho left the International Submarine Band after their Hokom-produced album to join the Byrds.
Hazlewood, who never liked Parsons, was so enraged that he sued to have the singer's vocals removed from the Byrds' Sweetheart of the Rodeo. He was just as controlling when Hokom received an offer to meet the Beatles he hated them, too in New York to discuss producing artists on their new Apple label. This was the birth of Sill-Hazlewood Productions.
Now Lee had someone to do the day-to-day business while he could focus on writing and producing. With the Modern Music connection Lee had a steady outlet for his compositions. Lee Hazlewood had a group of players that could play until he was satisfied. The basic team of players was Al Casey on guitar, bass, piano; the late Donnie Owens on rhythm guitar; Buddy Wheeler on electric bass; Jim Simmons on acoustic bass and Bob Taylor on drums.
They located a few grain tanks locally and Casey remembers tagging along with Floyd and Lee. The engineer, Ray Stouffer, put a microphone and a small speaker inside the tank to produce a second source of echo that they could mix with the tape recorder echo. Floyd called me up at home and said we have a session here tomorrow and I'd like you to do it.
I was in the studio with Floyd when the lady singer showed up and she had a little poodle with her. I don't remember her name and shortly after Lee comes in. That was my first impression of Lee". Ramsey's stayed busy with the commercial demands of local advertising agencies. They were also cutting all the master lacquers for the Wakefield Pressing plant. The months Lee spent at Dot were very frustrating for the productive Arizona transplant.
During most of his creative efforts were released on other labels. He still received royalties on the songs he wrote for Debra Music however. Later Clingman would find new partners, build a studio and sign a new roster of singers to the Viv label. Randy Wood had his own ideas about the type of music he wanted to be issued by Dot. He wanted Sanford to make recordings in the Pat Boone style but he did not like that.
'I made Sinatra's daughter sound like a tough broad' - Telegraph
Al Casey who later on worked with Randy Wood on his Ranwood label to do the 'Exotic Guitars' pop instrumental LP's says Wood felt he could get more sales by drawing on straight pop tunes. Most of the Hollywood sessions, which started in Marchproduced many unissued songs which were issued for the first time in in Germany by Bear Family Records. They are a curious mix of excellent songs that should have been issued before and nondescript material. Even with Randy Wood's experiments Sanford made some excellent recordings such as 'Lou be doo', a slick rocker with a smooth vocal chorus and a hot saxophone solo, 'A cross eyed alley cat', which is an example of the strong influence Sanford had on Ricky Nelson.
It did not become a commercial success however. The last session for Jamie took place on March 17, and was interesting for the growling distorted guitar sound Al Casey developed. As Al explains "Lee knew a guy who worked at a radio station and he built a little box for that.
This happened before all the fuzz tones. We were trying to get a good, nice clean sound. Lee wanted the distorted sound. A few however reached the lower part of the Billboard charts but did not get the attention they earned. When Sanford left Jamie he made two records for respectively the Trey and Project label both owned by Lee in and The latter is a much sought after item by the collectors of Sanford's records. These were not a commercial success.
Lee and Sanford tried again at Warner Brothers Records in and and released two singles. In he nearly had a hit recording of Lee's composition 'Houston'. Lee produced it for Dean and the DJ's quitted playing Sanford's version. However it was a number one hit in Texas. As Sanford declares he and Lee are still friends though he is still clearly stung by lost opportunity. In Sanford signed with the Floyd Ramsey owned Ramco Records and released 5 singles between and The first recording was a remake of 'The fool' called 'The fool 66' with the former Ramco artist Waylon Jennings playing the leading guitar role.
Ramco wanted to try something else and I could not get the sound there. Floyd Ramsey's son produced those sides and they were just looking for another fluke like 'The fool'. They cut twelve sides and that fluke never materialized". Sanford was not pleased with the sessions he did for the label.
- Make informed decisions with the FT.
- 'I wish I'd been a bad girl'
- Nancy Sinatra: ‘Shifting Gears,’ but still walking tall
He'd send me the music and stuff and I'd call him and tell him the key and they'd already have the tracks cut and then what they would do is add something later on and that's one reason they felt they didn't work.
They just weren't live". In however he insisted on recording an album for the LHI label titled 'Return of the fool' that reflected what he wanted instead of material Lee sent him. We just listened to tapes in his office. Smith had the hit inwhat caused another bitter pill. He has not stopped recording then.
They were never released and Sanford sent them to Lee's former partner Lester Sill, who was at Screen Gems Music at the time, but nothing happened.
Nancy Sinatra: ‘It still hurts to hear his voice’
Finally he sent two tracks to Nashville and released them on his own Desert Sun label though without any major success. It caused a bitter disappointment to Sanford both emotionally as financially. Chapitre III Lee had his own idea of a guitar sound and wanted to achieve a strong, low, full and swinging tone corresponding with the low piano tones played by Eddie Duchin several years ago. The guitar should be the voice of the otherwise instrumental pieces and he started experimenting echoes on country sounds with session guitarist Al Casey.
But Al Casey wanted to play like his great idol Chet Atkins and was in no way ready to accommodate Lee's ideas. They split up but not before Al introduced his rhythm guitarist's name of Duane Eddy into the conversation. Lee arranged a studio session and since Duane wasn't so set in his ways as Casey, Lee had precisely the right man he wanted. He was given his first guitar at the age of five and with much encouragement from his father Lloyd, who was a musician himself, he learned to pick all the country songs he heard on the local radio.
By the age of thirteen he was playing guitar in local bands and at seventeen he teamed up with his fellow school pal Jimmy Delbridge and appeared at local dances in and around Coolidge, Arizona.
The pair made their radio debut on radio KCKY in Coolidge with a regular Saturday evening spot featuring mainly country songs. After speculating with several groups Duane finally ended up with Al Casey.
Casey's band toured the so-called nightclub circuit playing throughout the small clubs in California. Duane played rhythm guitar in this band and the repertoire consisted mainly of country and western, some rhythm and blues and populair hits of the time.
It was inconceivable at that time he would become a great rock and roll guitarist. The record was only issued on the Ford label in Arizona in In this way he moved away from the pure country sounds. Although all credits were given to Duane it was in fact Al Casey who played on these sides and certainly not Duane. He could finally identify himself with the ideas of Lee in developing the technique of playing a deep twangy sound on the bottom strings of the instrument. They recognized the commer cial potential.
Lee however could not sell it to the big record companies.Nancy Sinatra & Lee Hazlewood - Jackson
They did not believe in instrumental hits and gave all their interest on rock and roll singers. On the country scene Chet Atkins was king of the guitar and other guitarists were given no chance. Therefore Lee had to try his luck with the smaller companies and finally he leased it to Jamie Records, a Philadelphia company which occupied itself mainly with rhythm and blues repertoire.
The Jamie company had already had local hits but the big business was to come with Duane, as artist and Lee, as resident producer. Within a short time the record was a local hit followed by a national hit and climbed into the official Billboard charts. The 'twangy' guitar sound had excited attention but Lee and Duane discussed a follow-up which became a joint composition: This became the first real hit single for Duane and was a top ten hit in the US in the summer of Some months later it even got the attention in Europe.