Half the Way - Wikipedia
Getty Images Crystal Gayle, a huge superstar with a long line of hits going back to the seventies and known for her long flowing hair. Top 20 hit), and "Why Have You Left the One You Left Me For" (); "Half the Way," US COUNTRY will have chances to win free tickets, meet and greet passes. Crystal Gayle Reflects on 'Slick Country' and Coal Miner's Family She scaled both charts with hits such as “Half the Way,” “Talking in Your thanks to a school picture where she sports a closely cropped look I always think back to as they' re putting the flight suit on me and . We would see Jim Reeves. Gayle Give me a little bit of loving (Give a little loving) Gayle Gimme little loving ( Give Natural Born Killers [Original Motion Picture Soundtrack] Half The Way Crystal Gayle (Bobby Wood & Ralph Murphy) Half of your love is just not lumps than donald trump's Pretty women in my face, see Took Gayle to Bloomingdale's.
I needed something to stimulate my growth and development. The sole process of making music that would adhere to film was still something new to me. So it was a little terrifying. But working with Francis seemed like a good opportunity.
Initially, did he show you a script? Describe the whole picture to you? There was never any gospel script. There was a blue print, a skeleton.
- Crystal Gayle - Half the Way Lyrics
- Half the Way
- We need you!
And right out front, Francis explained that the story would be changing as the production unfolded. In a hotel room, he took down all the paintings off the walls and stretched out sequences of events and would spot, in every rough, cryptic notations, where he wanted music.
I was able to get an idea of the film's peaks and valleys. So did you begin writing songs immediately after that? I started, but then I took a brief vacation to record Heartattack and Vine 4. I wrote and recorded that album real fast. Took about a month. After that, when I resumed my work on One From the Heart, it was a little difficult for me to resume writing music that wasn't a little gnarled and driving - the kind of stuff I was writing for Heartattack and Vine.
But Francis wanted the "cocktail landscape. But it was a good challenge to write for somebody else's approval, to be part of something larger than just the songs. What specific instructions did Coppola give you? He told me, "anything you write that deals with the subjects of love, romance, jealousy, break-ups can find its way into the film. The film would be like a very carefully designed Valentine, the singers would be like Hera and Zeus, commenting on this small community. Did you ever write with Coppola looking over your shoulder?
We had musical summit meetings periodically at Francis' place in Napa. I'd sit at the piano with a brandy snifter and Francis would try and set up little dramas, to begin a musical dialogue about romance, and I'd syphon out ideas.
It's very difficult working with someone who has a vision, especially Francis' four-dimensional vision, when you are required to implement it. He'd come in and start to brain-storm musically, skull out things, give me some borders and horizons. But he didn't want to put his hand in my hand. He wants your expertise in your area. In my case, he wanted me to create this pile of music that he could then take and throw up against a wall and see how it hung.
Were you able to establish any kind of daily writing routine? Well, I'd get up in the morning, have a cup of coffee, read the paper, get in my station wagon and then drive to work along with millions of other Americans.
At Zoetrope, I'd sit in a little room in the story department with a piano, a couch, a tape recorder and a view of a Gulf station. Sometimes to start the wheel turning, I'd just write a stream of consciousness, let it all come out, then sift through and find something to use.
I might dismantle a melody, discard one lyric and break a piece off from another song. I'd do that a lot. If one line didn't work in a song, I might stick it in somewhere else.
I never threw anything away. Because I never knew, when I was writing, what Francis might end up using. What, a year and a half ago, might have been a scratch track could have conceivably been used in the final cut of the film.
When I sat at the piano and first started writing at Zoetrope, I could hear the carpenters outside building the sets for the film. It was like hearing the soldiers drilling.
It gave me incentive and was like built-in pressure. Were you ever bothered by this pressure? Not that much, because I'd always admired the Tin Pan Alley writers, guys writing in offices in brick buildings and hearing stuff like [mimics a crusty New Yorker], "Well, we need an opening song now, because we'll be opening in Poughkeepsie in two weeks.
Come on, write something, then we'll run it up the flag pole and see if anybody salutes. I don't know how successful I was with it in One From the Heart, because it was new for me, and I had to strain and stretch. Did you interact much with other people involved in the production? Throughout the making of One From the Heart, the carpenters met the designers, who met the composers, who met the actors - it was like a huge carnival.
When Francis started shooting, he played a lot of music I'd written through a P. It took some of the chill out of the cold soundstage and army technicians. It was like hearing the soldiersdrilling. It gave me incentive. To come up with right musical atmosphere, I worked very closely wit Bob Alcivar 5the arranger and orchestrator, and Bones Howe 6my album producer.
And Richard Beggs 7who was really the sound sculptor, would sit in a little room, around the clock, with a catalogue of musical cues. Richard was the one most responsible for getting all the music to mesh with the film.
Did you write the songs in any kind of sequence, in conjunction with the film? No, because I never knew when the script was going to change, or where in the film the songs would end up.
Once shooting began, I looked to the film for some direction, but I could never rely on it. If I would try and write for a specific scene, the scene might only be in there for a couple of days. So the music would rapidly become obsolete. I finally resigned myself to following Francis' original suggestion: It was a collective decision.
There were a lot of candidates. Bette Midler was originally going to be involved, but there were some scheduling conflicts. So we kept throwing names around. I really liked her rendition of that. So, ultimately, Crystal became involved and she worked out real well.
She was nice and easy to work with. Did you write any songs that were specifically designed for her to sing?
Crystal Gayle - Biography - IMDb
I found that it was hard writing for a woman. There are certain words they're uncomfortable with.Crystal Gayle Half The Way
I can get away with a certain vernacular, while a woman singing it would have trouble. I had to change things around, put everything into her words. I felt like I was writing lines for an actress. That was originally a song I was singing. Just another song in the movie.
Then they cut it, sliced it up and adapted it for her to sing. Did you find yourself slipping into the identity of any of the characters in order to write some of the songs? No, because a lot of the characters never were really established or were allowed to develop.
Freddie Forrest was having enough trouble slipping into the role of Hank, trying to find out who Hank was, to the point where I certainly couldn't write for that specific character. Hank was kind of born on the set, then he still kept evolving.
I was in the position of having to write songs that didn't speak directly for the characters, yet fit into this separate reality of dazzling effects, like a [store] window that almost never touches this world. The songs were supposed to be a sub-text, an interior dialogue, creating a kind of lounge operetta. It was a new experience for me, because in the past, I had always written songs by framing the ordinary, the commonplace and the parade of characters that I came in contact with.
Did you run into any writer's blocks? Yes, but my wife helped me move past them. She was very supportive. It was necessary at times to take a little sabbatical from my work on One From the Heart. I needed to get a little distance from the film periodically. So I toured a couple of times, just a few shows back East and in Australia. I wasn't used to concentrating on one project for so long, to the point where you start eating your own flesh.
Were there ever any ego clashes between you and others involved with the film? You run into that anytime you get a group of people together all working together on something larger than themselves. I'd been used to working for myself and by myself, and being in charge of every little detail. So, during this film I learned how to bend, compromise and be patient. At what point in the production did all of the songs and the visuals really lock in together?
There never really was one point when that happened. Francis and Richard Beggs 7 were constantly trying different songs against different scenes. They were very experimental in that way, always thinking, "What would happen if we moved this song there and replaced it with another one?
Francis' brother August had mentioned the line to me. I wrote it down and later developed it into a song. So it was in, then out, then in again We tried that song against the scene; it worked and stayed in the film. Did you write much music that was never used?
There were some things. I headed down a few wrong roads. Bob Alcivar and I listened to how the soundtrack would go bomp, bomp, beeda, leeda, la, everytime somebody said a line.
So Bob and I went through this whole elaborate week of recording. We took some themes that I'd written and arranged them like typical '40s comedy stuff. But it turned into sitcom music, totally changed the complexion of the film. It was the wrong choice. So none of that music was used.
What's the story behind the song "It's Raining Cuban Cigars? It started out as just a joke. The character of Ray in the film is always in a tuxedo, a real Harvey's Bristol Creme kind of guy, so the line seemed to fit him in a humorous way.
But it was Gene Kelly who actually finished the song. He heard the line, "Meet me tonight, it's raining Cuban cigars," then asked me if he could add some words. I told him, "give me a beautiful lyric," and Gene wrote, "We'll make love where we are, it's magic tonight, 'cause you turn me on. How did you match that up with the dance sequence? There were a lot of different arrangements of that music, but I was constantly working with a click track that had been nailed down early on.
I had to work with the pace of the click track, so when the music was put against the dancing, everyone would be moving at the proper tempo. I thought they were dancing much to fast, but in order to change it, the whole scene would have to have been re-shot. We do not receive or store your credit card or bank account information, and we do not want you to send us your credit card or bank account information.
nickchinlund.info - Tom Waits & Crystal Gayle - I Beg You Pardon
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Loretta Lynn & Crystal Gayle: Sister Rivalry
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