Recently heard on the soundtrack to an episode of Mad Men, my continuing project of finding songs to cover leads to an attempt on Brian Hyland’s 1962 puppy-love pop classic (#3 on both US and UK charts). It has a naggingly dark/slightly hysterical melody that stuck in my head for days after watching the programme. I thought that a kind of moody, dragged-out beat would suit, and ended up close to an Angelo Badalamenti mugginess. Having roughed it out thus, Mark added his tensile guitar to it at the end of a day when we’d been playing “Next!” – a game where I play Mark tracks in various states of completion and he either responds to them, or doesn’t (and hence “Next!”). He has no knowledge of what I’m going to serve up, and sometimes it hooks him in enough to play multiple takes and work a part out. Sometimes it’s just one or two takes. He played, I think, three passes on this song.
An idea had occurred to me, a while before, to hire a bona-fide musician (Mark’s one, but he works with me for lunch and wine). And I thought of horns on this, so I emailed the wonderful Paul Taylor, who I’d seen with improv outfit the Horseless Headmen. I trepidatiously waited for a reply to my request that he write horn charts for a couple of songs, and was hugely thrilled when he said yes. Paul’s a great musician and a wonderful chap to spend a day with. We discussed a ridiculous range of music, from trad to bebop, from The Bureau via Improv to Trombone Poetry. Having tuned up the part of my brain needed to cope with engineering a live trombone session – we set to. Paul methodically and with great precision overdubbed the trombones that you hear here. It was only at the end that I played him Mark’s guitar part, and it was interesting to find how well the parts meshed. So here it is, folk fans: Sealed With a Kiss.
True fact: Hyland’s In a State of Bayou album found him working with the late and most certainly great Allen Toussaint. Who knew?
Note: The photograph above was taken in Uppsala during a performance of silent movies accompanied by live piano. It’s the cinema where Ingmar Bergman watched films as a child and the theatre hasn’t been updated since. Before the performance there was a selection of eccentric music videos from the late 30s, all accordions and gypsy guitar and very flimsy story lines, as witnessed above.
Credits: Lead guitar by Mark Pringle, Trombones arranged and played by Paul Taylor, Rhythm guitars and vibes played by Martin Colyer, who also arranged the song and sang it. There is no bass.