The story of Whenever I Call You Friend

[louielouie2000]

Originally Posted by sadmabelnormand

I absolutely adore this version of Sorcerer, and wish Stevie sang lead vocals.

She just gave such a fat, juicy, sultry vocal on that one... definitely one of my fav vocals of her career.

Regarding Stevie being "uncredited" for Whenever I Call You Friend, maybe she wanted it that way? Perhaps she didn't want to overshadow Kenny since she was the 'established' artist, and simply wanted to aid his career. At that time she was making money hand over fist and was arguably the hottest woman in music. I highly doubt she'd care about receiving full "credit" for a duet from an unknown singer/songwriter. After all, look at who she was duetting with in the 70s: Kenny Loggins, Walter Egan, John Stewart... all of these guys were relative unknowns in comparison to Fleetwood Mac at that point. Kenny and Walter were upstarts releasing their first albums; John was established thanks to his time in the Kingston Trio, but somewhat obscure solo. Singing with the likes of Don Henley and Tom Petty didn't arrive until the next decade.

[sorcerer999]

Originally Posted by louielouie2000

I highly doubt she'd care about receiving full "credit" for a duet from an unknown singer/songwriter. After all, look at who she was duetting with in the 70s: Kenny Loggins, Walter Egan, John Stewart... all of these guys were relative unknowns in comparison to Fleetwood Mac at that point. Kenny and Walter were upstarts releasing their first albums; John was established thanks to his time in the Kingston Trio, but somewhat obscure solo. Singing with the likes of Don Henley and Tom Petty didn't arrive until the next decade.

Um, Kenny was far from being unknown during that time period. For the previous seven years, he was a huge part (and one half) of Loggins & Messina and had four top 20 albums (two of which were top 10) and three very popular top 20 radio singles.

During Fleetwood Mac's white album tour, they actually OPENED for Loggins & Messina.

Also, "Nightwatch" with WICYF was Loggins' SECOND solo album.

Fleetwood Mac's popularity pretty much eclipsed EVERYONE ELSE'S after "Rumours" was released but still, I would hardly call Kenny an "unknown" or an "upstart" by the time "Nightwatch" was released. If anything, he was more of a household name and she was still the "obscure girl singer" from Fleetwood Mac. I'd argue that most casual music fans didn't truly remember her name until "Bella Donna" was released a couple of years later.

Just my opinion.

[UndoingTheLaces]

I don't think the recording artists have much to do with what's written on the record sleeve. That stuff is usually handled by the record company. I think if you have clout you can wrestle creative control out of their hands and pick the artwork and stuff like that but I think someone else does the writing on the labels. I'm sure the decision was purely the record company's decision.

[Jondalar]

Originally Posted by UndoingTheLaces

I don't think the recording artists have much to do with what's written on the record sleeve. That stuff is usually handled by the record company. I think if you have clout you can wrestle creative control out of their hands and pick the artwork and stuff like that but I think someone else does the writing on the labels. I'm sure the decision was purely the record company's decision.

I'm sure you are totally naive. She was a star.

[mylittledemon]

Originally Posted by UndoingTheLaces

I don't think the recording artists have much to do with what's written on the record sleeve. That stuff is usually handled by the record company. I think if you have clout you can wrestle creative control out of their hands and pick the artwork and stuff like that but I think someone else does the writing on the labels. I'm sure the decision was purely the record company's decision.

I feel that it's probably more on an equal footing between artist and record label. Or maybe 49% artist and 51% label. I can't imagine that a record company wouldn't involve the artist. I mean look at the Bella Donna and Wild Heart album covers. Not spectacular covers, but clearly they have that ethereal Stevie thing happening. That's more her than the record company. But the whole relationship is a marriage, so I'm sure there's compromise on both sides. You might have an argument for the current artists having less to do with their covers, though. And I'm sure packaging and fonts are probably more record label in-house designers than the artist.

[olive]

Originally Posted by mylittledemon

I feel that it's probably more on an equal footing between artist and record label. Or maybe 49% artist and 51% label. I can't imagine that a record company wouldn't involve the artist. I mean look at the Bella Donna and Wild Heart album covers. Not spectacular covers, but clearly they have that ethereal Stevie thing happening. That's more her than the record company. But the whole relationship is a marriage, so I'm sure there's compromise on both sides. You might have an argument for the current artists having less to do with their covers, though. And I'm sure packaging and fonts are probably more record label in-house designers than the artist.

Wasn't it partly her record company ,so she could do and have a say


https://en.m.wikipedia.org/wiki/Mode...rds_%281980%29

[mylittledemon]

^Haha that's right! Right out of the gate she wanted control over her albums. I would imagine that came from being only 1/5 of the influencing party over the Fleetwood Mac stuff. I can't possibly imagine how anyone could think Stevie has "little" to do with album art, even if you look at later albums like Trouble in Shangri La and In Your Dreams. They are so distinctly Stevie. So either she has a huge play in that, or the record companies feel they "know how to market her."

[Macfan4life]

There was an interview with Stevie during the Rock A Little tour (national radio broadcast) where she talked about this song. Stevie said she loved Kenny but he was so strict in the studio and said "the whip would come down."

Its not unusual to not give another artist credit. Stevie never gave Prince credit on Stand Back. And no, I don't believe her story that Prince told her not to do it. But even if that was true, you still would give someone credit for playing critical parts of your first single from a new album.
However, to not give someone credit for singing a duet is pretty odd. Stevie does not just sing back up, she sings full verses.
As someone correctly pointed out, the Mac opened for Loggins and Messina in 1975 so that is when they got to know eachother well.

[SpyNote]

Originally Posted by louielouie2000

She just gave such a fat, juicy, sultry vocal on that one... definitely one of my fav vocals of her career.

Regarding Stevie being "uncredited" for Whenever I Call You Friend, maybe she wanted it that way? Perhaps she didn't want to overshadow Kenny since she was the 'established' artist, and simply wanted to aid his career. At that time she was making money hand over fist and was arguably the hottest woman in music. I highly doubt she'd care about receiving full "credit" for a duet from an unknown singer/songwriter. After all, look at who she was duetting with in the 70s: Kenny Loggins, Walter Egan, John Stewart... all of these guys were relative unknowns in comparison to Fleetwood Mac at that point. Kenny and Walter were upstarts releasing their first albums; John was established thanks to his time in the Kingston Trio, but somewhat obscure solo. Singing with the likes of Don Henley and Tom Petty didn't arrive until the next decade.

I agree about the credit issue. I don't think it was that important to her since she was already getting so much recognition for Rumours. Bonding with handsome men was more important.

[SisterNightroad]

Kenny Loggins sings the hits at the Norris Theatre

Singer/songwriter Kenny Loggins first wrote the hit single “Danny's Song” to celebrate the birth of a nephew. Now, nearly 50 years later, Loggins is revisiting the classic tune, this time as a grandfather.

“I wrote a verse from the standpoint of being a grandfather—I've got a 2-year-old granddaughter," said the 69-year-old singer. "I'm using that as a cornerstone to the new children's project I'm working on.”

Loggins performs a new version of “Danny's Song” as well as his other classics at the Norris Theatre on the Palos Verdes Peninsula Saturday, Oct. 7.

“Danny's Song” wasn't a hit for Loggins and Messina, the multi-platinum selling duo that launched his career, but it was a top 10 single for Anne Murray in 1972. Following the success of Loggins and Messina, disbanded in 1976, Loggins was ready to launch his solo career when he approached collaborator Michael McDonald of Doobie Brothers fame.

Loggins sang a new song for McDonald, but, McDonald just didn't think much of the melody, he said.

“It kind of knocked my wind out for a little while, but then I had another writing date set up with Melissa Manchester a few days later,” Loggins recalled. “So I pulled (the song) back out and showed it to Melissa and she was like, 'Are you kidding me? Of course, we finished it up together.'”

That rejected melody became “Whenever I Call You 'Friend,'" a duo with Stevie Nicks. It was Loggins' first solo hit on the 1978 album “Nightwatch,” reaching No. 5 on the Billboard charts.

Loggins first met Nicks when he opened for Fleetwood Mac on one of their tours.

“She said, 'If you ever need a chick singer, give me a call,'” Loggins said. “I was like absolutely. Who would not want Stevie Nicks to sing with them on their record? I credit her with helping make my solo career take off.”

'King of the Soundtracks'

While on his last tour with Jim Messina, Loggins collaborated with Barbra Streisand and film producer Jon Peters on the music for “A Star is Born.” He sang beginnings of songs to them for his first solo album, “Celebrate Me Home.” One song that Streisand “loved” was “I Believe in Love,” which eventually made it on the film's soundtrack.

While they were collaborating in Malibu, Peters asked if Loggins had ever thought about acting.

“I said, 'I'm not particularly motivated to do that,'” recalled Loggins. “He said, 'You would be perfect for the lead in 'A Star is Born.' I said, 'Well, I appreciate that, I don't think so.' I passed.”

The role eventually went to Kris Kristofferson, but his relationship with Peters became a fruitful one. A few years later, the producer was working on a comedy called “Caddyshack” when Loggins was contacted to write some music. The soundtrack includes four songs by Loggins including “I'm Alright.”

“I got lucky; the movie was hilarious and I wanted to write everything for it,” Loggins said.

That was followed by the theme song for “Footloose,” which garnered an Oscar nomination, and “Danger Zone” for “Top Gun.” Loggins also sang “For the First Time,” featured in the 1996 film “One Fine Day,” that was nominated for an Academy Award.

Loggins said he is looking forward to the “Top Gun” sequel set to be released in 2019. He met Tom Cruise for the first time in October 2016 while filming an episode of “Jimmy Kimmel Live!”

“After all of these years everybody thought that I'd known him, but we never met,” Loggins said. “I asked him, 'Are you guys considering using “Danger Zone” and he said 'absolutely.' That doesn't necessarily mean it will happen because a lot happens between now and the cutting room, but I would love to be part of that in some way.”

Pooh's world

Loggins' largest selling album, selling 2 million units, is “Return to Pooh Corner.” The musician he said will continue writing for children including his next album, which has no release date. Last year, he released his first children's book, “Footloose,” a story of zoo animals who like to dance when the moon gets full. He said pop music is “not a hamster wheel I'm eager to get back on.”

But fans can catch his classic songs on this current tour that reaches Palos Verdes Oct. 7.

“I love what I do. I don't love the traveling necessarily, but I love performing,” he said. “I've got a great band together. I've got some good stories and the trick is remembering them and fitting them into the show. I was sitting with a friend the other day and had a couple glasses wine and we were reminiscing about the old days and she said, 'You should be writing this stuff down and make it a part of your show.' I think she's right. It's time to start collecting those old stories.”



http://tbrnews.com/entertainment/ken...01a79c1c8.html