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This song was recorded at Audio Recording, Inc. in Seattle by legendary engineer, Kearney Barton (who recorded The Kingsmen “Jolly Green Giant” of “Louie, Louie” fame, The Sonics “Psycho”, The Frantics “Werewolf”, and many others.) It was an 8 track analog studio, recorded onto 1 inch reel tape. This song was recorded, along with 13 other songs, in a 12 hour session. It was the first session where I met Kearney Barton. I wanted to do this since I knew The Beatles recorded some of their best sounding stuff very much like this. To this day, I like the fast pace of music since it seems more lively to me. By taking too long on a song and second guessing yourself, you tend to bog down the creative process. I'd rather have a few rough areas and even mistakes in songs while having fun than spending months on a perfect recording that stifles creativity. This song features Wayde Brown (me) on guitar and vocal; my dad Clinton Brown on bass, Bill Fletcher on drums, and Sam Haylor on backing vocal. We performed this live in two takes. The only overdub was the lead guitar. Bill Fletcher made one mistake at the beginning of the song. There was no way to correct it until now. Thanks to the digital age, I was able to fix it. I also added some unfinished guitar work and backing vocals to this latest mix.
I remember after the session was over, Kearney said he was very impressed at what we accomplished, especially since we never met before and had barely talked about a game plan. We kind of just went in and did it. The 12 hours included a quick, rough mix down as well.
To finish off this particular mix, I had to convert it from a cassette format onto the Audacity program on my computer with a JVC TD-W254 Double Cassette Deck 3 motor Silent Mechanism.
This is the 78th song I wrote. This song was inspired by the line from “I Can't Help It (If I'm Still in Love with You)” where he sings “And my heart fell at your feet.” I remember watching a TV show about how Hank Williams Sr. was told to write a song within a certain time frame, and this is what he came up with. My father gave me the same challenge, asking me to “write a real song within one hour.” Of course, my dad said “real” so the avant-garde stuff was out of the question. Because of what my dad asked, I remembered the TV show and I took that one line and slightly changed it to “My heart fell to your feet” and there, I had the makings of this song. I also was inspired by the riff in Olivia Newton-John's song “Heart-attack.” I told the drummer, Bill Fletcher, to play some rockin' drums. I didn't know he'd come back with this heavy laden drum part. It wasn't what I expected, but now I can't hear the song without it. I wrote this song on Jan. 16th, 1986 during a very stormy day. Between song #77 and this one (#78), I hadn’t written a song for nearly a month. This got me back into it again.

Recorded at Audio Recording, Inc. in Seattle, WA. and MINE music Studio in Auburn, WA.

lyrics

When I Saw You There With Another Guy,
My Heart Fell To Your Feet, And I Started To Cry.
You Gave Me One More Chance For A Brand New Start.
I'll Give You Everything. Hope We'll Never Part.

You're The Kind Of Girl That Makes Me Feel All Right. (Makes Me Feel All Right)
You're The Kind Of Girl That Looks So Out Of Sight,
So Out Of Sight, Makes Me Feel All Right.
(Solo)
Don't Ever Leave Me. All I Want Is You.
I'll Love You Forever. I'll Always Be True.

You're The Kind Of Girl That Is So Beautiful. (So Beautiful)
You're The Kind Of Girl That Is So Wonderful,
So Wonderful, And You're So Beautiful.

credits

from SLEEPING IN DREAMS redux (2024 Remaster), released May 6, 2014
Wayde K. Brown

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The Santairs Auburn, Washington

I am a musician, singer, and songwriter doing this part-time but have been doing it all my life. I started singing before I could talk at the age of one, and wrote my first real song at 15 years of age. (If you count avant-garde as a song, then the age would be 7.) I currently own my own recording studio; and I write, perform, and record my own music (and other's from time to time.) I am Santairs. ... more

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