Eddie Floyd Lay your loving on me
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Added- recording at that time was glorious and rough. Many times it was one take., and home. Some guys were getting double and triple scale, had answering service (and cartage, instruments, axes set up upon getting there), rushing from one session to another (usual in Hollywood LA). 802 musicians--New York was similar, I'm told. But mess up and you'd never work "in this town again" since most everyone new everyone. Good readers could make big bucks(although some of 'em had no soul).
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@mactheox--career was middlin'...never made it passed the "B" string (albeit, did lots of recordings sessions. ("A" string backed Sinatra, Sammy, Harry Belafonte and such (smile).
I went backwards from MOTOWN big stars, then to Johnny Otis, ending up backing David Clayton Thomas after Blood Sweat and Tears. Then something awful happened(which is usual in music)-- blown off the stage by opening act Minnie Ripperton & Band. David back to Canada, Me--law school after a few years of struggling.
blackmalelaw 2 days ago
@blackmalelaw If you allow me carrying on asking...
Who would have been your dream-artist to play for, and thereby, what kind of music were you into, let's say in the mid-seventies ?
As a bass player ( and as I play a little bass myself ), who were your instrumental influences ?
mactheox 2 days ago
Good things come to those who wait. If memory serves, me (James Wesly "Jimmy" Smith) on bass, Al McKay was the contractor and guitarist, Paul Humphreys on drums, and full orchestra playing all at once (strings, harp and everyone) at the old Paramount Studios in Hollywood. Think Dale Warren was the arranger.
blackmalelaw 5 days ago
@blackmalelaw Waow...! Thanks for that one !
Would you tell me more ? What was it like, recording at the time ? Would you tell me about your career ?
mactheox 4 days ago