"Some Velvet Morning" | ||||
---|---|---|---|---|
Single by Nancy Sinatra & Lee Hazlewood | ||||
from the album Movin' With Nancy | ||||
B-side | "Oh, Lonesome Me" | |||
Released | December 1967 | |||
Recorded | Late 1967 | |||
Studio | Capitol, Los Angeles | |||
Genre | ||||
Length | 3:39 | |||
Label | Reprise | |||
Songwriter(s) | Lee Hazlewood | |||
Producer(s) | Lee Hazlewood | |||
Nancy Sinatra singles chronology | ||||
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Audio sample | ||||
"Some Velvet Morning" |
"Some Velvet Morning" is a song written by Lee Hazlewood and originally recorded by Hazlewood and Nancy Sinatra in late 1967. It first appeared on Sinatra's album Movin' with Nancy, the soundtrack to her 1967 television special of the same name, which also featured a performance of the song. It was subsequently released as a single before appearing on the 1968 album Nancy & Lee . [2]
The male part of the song is in 4
4 time signature whereas the female part is in 3
4. Hazlewood's voice is recorded with more reverberation than is Sinatra's, making it sound bidimensional.
Sinatra's singing career received a boost in 1967 with the help of songwriter/producer/arranger Hazlewood, who had been making records for ten years, including with Duane Eddy. Hazlewood's collaboration with Sinatra began when her father Frank Sinatra asked Hazlewood to help boost his daughter's career. [2]
In the fall of 1967, Nancy Sinatra joined Hazlewood at Capitol Studios in Los Angeles for a three-hour session. The recording was produced by Hazlewood and arranged by Billy Strange. According to one review, overdubbing was not used. Instead, the duo "recorded the entire song live with the band, the full orchestra and Lee Hazlewood and Nancy Sinatra singing all at the same time." [3]
Reviewers have offered a variety of interpretations of the song's lyrics. A British journalist said that "the puzzle of its lyrics and otherworldly beauty of its sound offering seemingly endless interpretations." [2]
Hazlewood's explanation was less definitive than those of some others, saying: "It’s not meant to mean so much. I'm not a druggie, so it was never to do with that." He also confirmed that he was inspired by Greek mythology: "I thought they were a lot better than all those fairy tales that came from Germany that had killings and knifings. There was only about seven lines about Phaedra. She had a sad middle, a sad end, and by the time she was 17 she was gone. She was a sad-assed broad, the saddest of all Greek goddesses. So bless her heart, she deserves some notoriety, so I’ll put her in a song." [3]
In 2003, London's The Daily Telegraph called the song "[O]ne of the strangest, druggiest, most darkly sexual songs ever written — ambitious, beautiful and unforgettable." [4] As with many psychedelic songs, its overall meaning is somewhat obscure. The lyrics consist of the male part describing a mysterious, powerful woman named Phaedra, who "gave [him] life ... and ... made it end''." The male part alternates with the female part, who identifies herself as Phaedra and speaks over ethereal, twinkling music about beautiful nature imagery and about the secrets held by an unknown collective "us”, the chorus lyrics saying “…flowers growing on a hill; dragonflies and daffodils…learn from us, very much; look at us, but do not touch. Phaedra is my name”.
The rhythm noticeably alternates between Hazlewood’s verses and Sinatra’s chorus lines, with the former all in 4/4 (common time) and Sinatra’s parts briefly changing to 3/4 (waltz time), and back again. The end of the song involves a “back-and-forth” between the two singers, highlighting the change in rhythm — every other line switches from 4/4 to 3/4, as Hazlewood and Sinatra each sing a line (in order) from their respective parts, in a pattern. For example:
Hazlewood (4/4): “Some velvet morning when I’m straight…”
Sinatra (3/4): “flowers growing on a hill…”
H: “I’m gonna open up your gate…”
S: “…dragonflies and daffodils…”
Although "Some Velvet Morning" is among the more famous duets that Hazlewood and Sinatra recorded, it is considered a departure from their usual fare, as it is decidedly less influenced by country and western music. The single peaked at #26 on the Billboard Hot 100 in January 1968, [1] and #36 in Canada. [5]
This section needs additional citations for verification .(October 2023) |
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