fifteen days of bass

Yes, missed Sunday and Monday. I’ll make those up with a three-part post tomorrow. Today, we’ll just have one post, in memory of yesterday’s passing of Lesley Gore. She’ll always be largely remembered as the woman who offered ‘You Don’t Own Me’ (and to a lesser extent, ‘It’s My Party’) to the world, the quintessential piece of pop-feminist 60’s subversion, and while that’d certainly be enough—pop music is filled with famous, long careers that don’t come close to the mere two-and-a-half wonderful minutes she does there—but, with the forlorn nature one feels in matters like this, I felt a more apropos selection is in order. So, I’ll let Lesley tell us how we should move on and remember her in tune. Coming from her debut album, 1963’s I’ll Cry If I Want To, ‘No More Tears (Left to Cry)’ is one of six songs on the 12 track record with ‘tears’ or ‘cry’ in the title, making it some sort of teenage bedroom melodrama for the ages. RIP.

The bass, as is typical in a good many of these songs, was performed by a session player, so I’m unable to track the exact identity down with the means that currently afford me. The orchestration in the song was conducted by Claus Ogerman and the track was produced by Quincy Jones. Though typical of the time, the bass is a nice rolling little thing, perfectly encompassing its era. It’ll be generic to some, but then if you slapped it into a song today it’d probably sound fresh, devoid of the throbbing repetitive cynicism of bass that is our Billboard Top 100.

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