Welcome to A Breath of Fresh Air with Sandy Kaye. Hello to you and a very big welcome to the show. If you’re a regular listener, you’ll know that I often urge you to reach out with suggestions for guests that you’d like to hear from.
And I’d like to say a very big thank you to those of you who’ve responded to that call. Even if you haven’t heard that guest yet, please rest assured that I haven’t forgotten about you. I’m always working in the background trying to tee up those artists for you.
So now on to this week, and I can’t tell you how thrilled I am to finally be bringing you our guest today. It’s taken me many months to tie her down. And yes, you heard me right, it’s a her.
Female artists are definitely in the minority on this show, aren’t they? Thanks to Gary in Vancouver, Canada, Mary in Melbourne, Australia, and Lila in Ohio in the US, the inimitable superstar of the 70s and 80s, Kim Karnes is joining us. I’ll let Kim tell her own story and share her music with you. But just a reminder, if you want to suggest a guest, please message me through the website of breathoffreshair.com.au. New York snow, she’s got better days besides.
She’s easy, she’s a little easy, all the better just to please you. She’s precocious, and she knows just what it takes to make a program. Kim, we finally made it.
I know, I’m so glad. Me too. With permission, Kim, I’d really love to trace your career.
Let’s start where it all began for you. I know as a child, you started getting interested in music very, very young, didn’t you? I did. From about three years old, I would say, people would ask me, what are you going to do when you grow up? And I always said, songwriter, singer, that’s it.
And I feel very fortunate that I knew from an early age what I wanted to do. Made it easier. It didn’t make the journey easier, but at least I didn’t have to wonder what I was going to do.
How did you know that, though? I mean, you hadn’t come from a musical family, had you? No, not really. My dad loved to play the piano, but nobody in my family made music for a living. And they never really understood me wanting to do that, even after I was successful.
I definitely was on my own, not having their support, which in the big picture, perhaps made my resolve even stronger. Perhaps it worked for me instead of against me. Even people, when I went to school, especially high school, would say to me, when are you going to get rid of this pipe dream that you want to be a singer and a songwriter? I’m like, no, not happening.
Nobody understood it. Living with you, now there’s a way. Everybody say, to do each and every little thing now.
But what good does it bring now, if I ain’t got you? If I ain’t got you? Baby, you don’t know what it’s like. Baby, you don’t know what it’s like. To love somebody.
To love somebody. The way I love you. I love you, baby.
I loved Motown. I especially adored Smokey. I loved all Motown music groups, the records.
It just spoke to me, and I adored it. And I didn’t know a girl could be a rocker until Bonnie and Delaney. And I remember hearing her for the first time going, that’s what I want to do.
And I went to any time they did a show, whether it was a little club out in the San Fernando Valley or open for Mad Dogs and Englishmen tour, she just blew me away. She was incredible. So she was a huge, huge influence.
And quite a few years later, when Rita Coolidge was recording, her producer, David Anderle, called me and said, I want you and Bonnie and Rita to do backgrounds for Rita’s record. So that was a real high point for me. I got to sing with my idols, and it was so fun.
How did you make the dream come true for yourself? Well, that’s a long answer. I just started as a songwriter, really were my first successes. And I would go into the studio and make demos of the songs I wrote.
And not only did it allow me to give my publisher something to pitch to other artists, but I also could play around with how I wanted to sing how I wanted it to sound. So it was a great training ground in some way. It also enabled me to meet all the great session players, studio players that came and played on the demos that were in Hollywood.
And I also had a period of several years that I sang background vocals for other artists. Steve Cropper was producing Jose Feliciano. He called one day, and I’d never met Steve.
I knew him, of course, writer of Dock of the Bay, killer guitar player. But he called and said, I’m producing Jose Feliciano. I wondered if you and two girls that are wonderful singers, two sisters, could come sing background.
I’m like, sure, we’d love to. The three of us met and we clicked instantly. And the sound was just perfection.
And I know what it is, it moves me this way. My first cut as a writer was for a film called Vanishing Point, and the amazing Big Mama Thornton sang the song I wrote. What a thrill.
Like, this is my first cut. Oh, my gosh. So it was very special.
How did that even happen for you, though? My very first introduction to recording, to singing, we had a duo named Kim and Jane in high school, and we would sing at parties, and not always school events. I don’t know why people hired us, like two high school girls, but they did. And I wrote all the songs, played keyboards, and we sang.
And there was a local top 40 station in Pasadena that was having a contest, and we tried out for it. And we surprisingly got in the top 10, and we did a show in a big theatre in downtown Los Angeles. We got on stage, and I got so scared that my hands just froze.
What about as a songwriter, though? You said that you had a publisher, and the first cut that you’d ever written was used in the film Vanishing Point. You actually sung the song Nobody Knows that was written by Mike Settle. Tell us a little bit about him.
Well, I was part of the film because my first publisher was Jimmy Bowen, the famous producer-publisher. And he had a small publishing company, myself, Dave Ellingson, my husband. And this is pre-Eagles.
Glenn Frey, J.D. Souther, Don Henley. It was small, but amazing. I mean, I think everyone that wrote for him ended up having good success.
After I sang Nobody Knows for them, that led Jimmy to say, well, we need to make an album. So that was my very first album. It was the early 70s also, Kim Karnes, that you and your husband Dave Ellingson co-wrote lots of songs with David Cassidy, who was then at the peak of his career, wasn’t he? Yes, we did.
We got just a bizarre call from a friend of ours who was asked to produce David, produce his live shows. And it was to test, because he was on Partridge family, it was to test if he had any audience for singing and doing live shows. So we opened for David.
And yes, he was successful doing that. So we ended up touring with him for a good three years. We toured all over Europe, New Zealand, Japan, China.
It was such a great way to just get used to performing. And in David’s case, for thousands and thousands and thousands of huge venues, Wembley and Madison Square Garden, and just amazing. I think I love you.
This morning, I woke up with this feeling, didn’t know how to deal with. And so I just decided to myself, I’d hide it to myself and never talk about it. And did not go and shout it when you walked into the room.
I think I love you. I think I love you. He couldn’t even go to the market.
He was so famous. And he’d come over to our house, and we’d drink wine and listen to music that we all loved. His tastes were not what he was singing.
He loved Jeff Beck. He loved Crosby, Stills, Nash and Young. And he would get really frustrated that he had to do teeny bopper music, because that’s what his fans wanted.
But it was difficult for him. So he would have been pretty frustrated. He was super frustrated.
Yeah, you couldn’t imagine. Just saying this is not what I like, this is not what I do, but I have to do it. Because his success was undeniable.
Those days, he was the biggest music star there was. And just a great, great guy. Kim, how did you meet your husband, Dave, in the first place? We were singing and we met on the road.
And we basically became friends and just hung out and eventually ended up moving back to LA. And eventually we got married. And then we started writing together.
Kenny Rogers came to us and asked if we could write a concept album. He wanted to be a cowboy, but he wanted to be a modern day cowboy. So we gave him a name, Gideon Tanner, and we wrote a whole fictitious story first.
And then we wrote the songs. We went to Kenny’s house and played it for him. I guess he stopped it after Don’t Fall In Love With A Dreamer.
He said, if I do this album, will you sing this as a duet with me? And of course I would. We flew back to Nashville and cut the whole album called Gideon. And the first single was Dreamers.
Then tonight, it’d be so easy to tell you I’d stay like I’ve done so many times. I was so sure this would be the night you’d close the door and want to stay with me. And it’d be so easy to tell you I’d stay like I’ve done so many times.
Don’t fall in love with a dreamer, cause he’ll always take you near. Just when you think you’ve really changed him, he’ll leave you again. Don’t fall in love with a dreamer, cause he’ll break you every time.
Did you give even weight to songwriting and singing? Yes. I guess I put singing and writing together. But if I had to choose one, which I don’t, fortunately, it would be songwriting.
I started as a songwriter and I get so much joy finishing a song and going, okay, I love this. I love writing so much. It’s such a part of me, huge part.
When an artist that I admire tremendously, like a Tina Turner, does a song of mine, oh my gosh, it’s just the best feeling in the whole world. Where do you take your inspiration from as a writer? A few times a song will just come through me. I wish it happened like that more often, it doesn’t.
But otherwise, I’m a storyteller, so stories come to me, titles come to me. As an example, I got a phone call out of the blue. Barbara Streisand had recorded two of my songs before, and I got a call asking if I would write something that the two of us could sing.
I said, I can’t imagine us singing together only because our voices are so different, our styles are so different. How can this work? I literally went to the piano and it’s one of those times it just came through me. In about an hour, the song was written and I could hear her voice, I could hear mine, and I knew it was perfect.
This is a breath of fresh air with Sandy Kaye. It’s a beautiful day. That song was Make No Mistake, She’s Mine.
Barbara Streisand hadn’t recorded a new album since her 1980 bestseller Guilty because she’d been busy filming the movie Yentl. But after hearing the demo, she invited Kim and her keyboard player to her home to rehearse the duet. The vocal pairing, it was said, was akin to silk and gravel.
And he knows how I feel He’s mine Fortunately, I was having good success as a writer before I did as an artist so things were just building year by year by year. It was such a man’s world then, wasn’t it? I mean, was it difficult for you as a woman to do all this? Still is. I mean, better.
But yes, it was, it is. And the years I was all on labels, all run by men, I fought my way a lot. And I enjoyed what I was doing so much, but I didn’t like that part of it.
Having to feel that I wasn’t valued because I was a woman. No one would let me produce because women still, if you look at albums, few and far between, getting better. But I co-produced with Bill Como again.
Make no mistake, for myself and Barbra Streisand, I co-produced View from the House with Bowen and my Chase and Wild Trains album, I totally produced. It’s so freeing and wonderful. And it could have happened a lot earlier had it not been a business run by men.
No letters of regret, no poems, no wine, no cigarettes To remind me of you I’ll take these shoes outside the door Take this heartache right up on the floor Oh, oh, oh, oh, oh, oh, oh, oh Because of the success of Bette Davis’ Eyes, I ended up having a treasured, wonderful friendship with Bette Davis. And she used to sit down on her couch, or she would pace up and down the hall of her apartment and tell me all the stories about what we’re talking about, fighting the studio heads as a woman. I just loved her and loved all her stories.
Kim, tell me a little bit about Betty Davis Eyes, the song. That was 1981, wasn’t it? Yes, it was 1981. I had a producer who was producing my romance dance album and he played me Jackie Deshanin’s demo.
She co-wrote it with my dear friend, Donna Weiss. He played me Jackie’s demo of it, was 100% different, just feel and chords and everything, but I loved the lyric. I just thought it was so edgy and left field, which is what I like.
Her hair is hollow gold. Her lips are sweet surprise. Her hands are never cold.
She’s got Betty Davis Eyes. She’ll turn her music on you. You won’t have to think twice.
She’s pure as New York snow. She’s got Betty Davis Eyes. And she’ll tease you, she’ll unease you.
All the better just to please you. She’s precocious and she knows just what it takes to make a progress. She’s got Greta Garbo’s standoff side.
She’s got Betty Davis Eyes. Turns out we never recorded it. It’s a good thing for that album.
It just kind of disappeared and every time I would ask him about it, he’d say, oh, kind of mumble. And I later found out from Donna Weiss that it’s because he said, I can get Kim Carnes to record it if you give me the publishing. And she said, no.
So it never came up again. But then when I went to make Mistaken Identity, Donna called and said, I remember that you loved Betty Davis Eyes. Do you want me to send it to you again? And I’m so glad she reminded me of it.
We rehearsed at least three days for Betty Davis Eyes because it had to change drastically, but we had to figure out how it was gonna change. And again, Bill Como, my keyboard player, came up with the lick that is so instrumental in that record. We all heard it and went, that’s it, that’s it, perfect.
There’s a keyboard lick in Cars by Gary Neumann that goes, do, do, do, do, do, do, do, do, do. And I said, let’s come up with a lick like that. My drummer thought I meant The Cars, the group.
And he went out and got a syn-air drum and that’s the trash drum. So, happy accident. ♪ Her hair is hollow gold ♪ ♪ Her lips sweet surprise ♪ ♪ Her hands are never cold ♪ ♪ She’s got Betty Davis Eyes ♪ ♪ She’ll turn the music on you ♪ ♪ You won’t have to think twice ♪ ♪ She’s pure as New York snow ♪ ♪ She’s got Betty Davis Eyes ♪ ♪ And she’s easy, she won’t ease you ♪ ♪ Call the better just to please you ♪ ♪ She’s precocious and she knows just what it takes to make a program ♪ ♪ She’s got credit cards, she’s got it, she’ll let you take her home ♪ ♪ With her appetite, she’ll lay you on the floor ♪ ♪ She’s got Betty Davis Eyes, she’ll take a tumble on you ♪ ♪ Roll you like you were dice until you come up blue ♪ ♪ She’s got Betty Davis Eyes ♪ It’s such a collaborative effort.
Everybody in my band just chimed in and played perfectly. And the next day we cut it live, second take. And that’s the version that we ended up using, just a rough mix, which, again, my philosophy, I love rough vocals, I love rough mixes where you just put everything up and go with your gut.
And it worked. It totally did work, didn’t it? It’s been streamed millions of times on Amazon to date. It won you a Grammy award.
It’s still played on radio all over the world so many years later. It does. It never stops.
I’m getting so many texts these days of people who are seeing a movie, Maxine, and saying they loved hearing it at the end. Yeah, it definitely doesn’t go away. And because of that, it lets me go to Europe at least once a year and do TV.
So it’s the song that just keeps on giving. Amazing. It does keep on giving.
Wonderful things have come of it, of that being a worldwide hit. I love the songs I have that keep on giving. I’ll Be Here Where the Heart Is from Flashdance, the duet with Barbra Streisand, Make No Mistake, which, strangely, I get a call from Kenny and Ronnie Millsap asking me if I have a song that they could do as a duet.
And I sang my version, just a low-end demo of Make No Mistake. It ended up being a number one country song and earned them each a Grammy. And then two people sang it on the TV show Glee.
So it does keep on giving. Little did I know. ♪ Don’t call her up anymore ♪ ♪ Cause I don’t wanna hear your voice ♪ ♪ I don’t wanna see your face answer her door ♪ ♪ Well, make no mistake, she’s mine, she’s mine ♪ I have to ask you, though, you say you like rough vocals and rough playing and doing it live.
Your rough voice has been your signature. Have you always had that? How did you do this? Always, as a little kid, yeah. Yeah, never smoked.
It’s what it is, you know? No reason. Did your parents ever question what it was and take you to a doctor and say, oh, this girl’s voice is too husky? No, they didn’t. They did not.
You’ve always been husky? Always, yes. Always husky. I loved Dusty Springfield always, you know? And she’s got that husky voice and I loved her.
A lot of singers I totally admire are admired, have a little bit of that rasp. So it just is what it is. Yeah, and in part, it’s been the making of you.
I mean, Bette Davis’ eyes wouldn’t have sounded anything like it does if you hadn’t have had the rasp. Sounds great. Probably not.
Yeah, probably not. I was able to pull it back a little bit. The first album I did for EMI, I wrote a song called It Hurts So Bad and it was the first single.
And they had a promotion guy at the time who was a master, just amazing. And he went out on the road to promote it and he came back and I loved this about him and said to me, you know what? Radio’s not gonna play it because it’s too raspy. Pull it back.
And it was such great advice. Just dial it back. So you’re able to control the raspiness of the voice? Yes.
I don’t think about it, but if I need to dial it back, I can. And again, ever since he told me that, I try to not have it be over the top. Listening back to that record, they were right.
It’s just too much. Rasp, it’s too much. I don’t disagree.
Kim, in 1985, you were part of We Are The World. What was that like for you? Oh gosh, spectacular. I think most of the artists in that room had gone to the American Music Awards that evening.
So afterwards, we all went to my old stomping grounds, my old label, A&M Records. And there was a big sign Quincy Jones had put above the door saying, keep your egos out, keep them at home. Don’t bring your egos in.
And we walked out of there at seven in the morning. I had no idea we’d spent the whole night there. It just was such an amazing experience.
And everyone was so for it and kind. And some of my heroes I’d met before, some I definitely hadn’t. So there was that.
I think my best memory of all, in a break, they handed out sheet music and it was folded in about four or five pages. And everyone went up to the other artists. We all signed that sheet music.
And everybody who participated has that. Just an amazing memory. It was incredible.
I’m so grateful I was part of that. And I just saw where the recent Netflix production of it is up for an Emmy. Yeah, I saw that.
I think they did a really good job with it. Really good job. A great show.
I wonder, by that time, by 1985, you must’ve got well and truly used to being in the company of all these huge names because you’d become one of them. Is that something that you get used to and just take for granted? Or is it something that sometimes you just pinch yourself and go, look at me, look where I am today? I don’t take it for granted. I never have, for sure.
And I always pinch myself a lot. When I’m in a situation that just blows me away, like I’m so proud to be here, I’m so proud to be part of this, so happy to be with this person, I pinch myself. I never have taken it for granted.
I’m so grateful that I am able to have success with what I love. So many people struggle with what they want to do in life. And I’m grateful I never had to wonder because I always knew.
And the fact that it worked, I did not take for granted. I just love it. I’m so fortunate.
She’s not just lucky. There’s no doubt just how talented Kim Carnes is.
This is A Breath of Fresh Air with Sandy Kay. It’s a beautiful day. Hey, it’s Kim Cannes and you’re listening to A Breath of Fresh Air with Sandy Kaye.
It was 1994 when Kim moved herself permanently to the epicentre of songwriting, Nashville, Tennessee. She continued penning songs but also put out this cover of The Rolling Stones’ Under My Thumb. Under my thumb, once he ran Now he’s down to me, but he’s told down to me Change will come, change his ways He’s down to me Why’d you choose that? Because, first of all, they’re my favourite band forever.
And that song always just killed me. I just loved it, loved it. And I loved singing it.
I, for years, opened my live show with Under My Thumb. I love the switch of being female, singing that lyric about a male. And where it came from, I saw Tina Turner sing it like that.
And I went, oh, that works. That is so awesome. And she was the inspiration for me then to start singing it live and then eventually recording.
And you’re still writing today, aren’t you, Kim? A bunch. I moved to Nashville for songwriting because I had a wonderful publisher I was signed to who was based in Nashville. And the record I heard that I went, I want to be where that was made, was Roseanne Cash’s Seven Year Ache.
Also, as a writer, I’d written with Donna Weiss a song called The Heart Won’t Lie. That was a number one record for Vince Gill and Reba McEntire. I’d had, make no mistake, a number one country record with Kenny and Ronnie Millsap.
I was having success as a writer, so it just makes sense to be there. In Nashville, there’s a lot of co-writing, which I never did a lot of. Career-wise, that was the best part of moving to Nashville.
You seem to have made all the right decisions at the right times. Could you ever have imagined yourself so big on the country charts? No, never. No, it’s not what I ever listened to.
I don’t listen to it. But here’s the thing, there’s several songs like The Heart Won’t Lie, Make No Mistake, that are just songs. And if a country artist sings them, they end up being country hits.
That’s the case for me, for writing. I don’t write country songs, but I do write songs that country artists can record. As you say, whoever sings it can put their own spin on whatever you’ve written.
What you’re writing is the bones, and they give it whatever they do. Yeah. You know, I think genres can be mixed up and still work.
I think you can take an R&B song, and if a country artist sings it and does a good record on it, it works. A lot of people are afraid of that. I don’t think you hear it a lot.
But I totally believe it can happen. Before Reba and Vince had a hit with The Heart Won’t Lie, I pitched that song. I actually wrote it for Kenny, for us to sing.
And he was between projects, it just didn’t work. So I sent that song to so many producers in Nashville, and so many artists. And I was told, it’s not country enough, not country enough.
And Reba, to her credit, remembered it from me pitching it to Kenny. And her producer called and said, has anybody cut The Heart Won’t Lie? I’m like, nope. And they cut it.
It was number one. You knew when something was going to be a hit, didn’t you? I do. I trust my instincts.
They don’t always work out, and they’re not always listened to, for sure. But I would rather go with my gut feeling on whatever it is. Even if I turn out to be wrong, then do what somebody else wants me to do.
Does that go for the rest of your life too, Kim? Pretty much so, yeah. I definitely listen to what I feel. Great advice for people generally, isn’t it? Trust your gut.
Oh, listen to your gut, and again, follow through with it. The follow through is important. Yeah.
Anything left on your bucket list, Kim Carnes? Is there someone you want to write for? Is there someone you want to sing with? Is there anything that’s still left for you that you want to do? I always wanted to be a background singer for Tom Petty, always. I wrote a song. I’ve never done anything with it.
Some years ago, just titled I Want to Be in Tom Petty’s Band, I just really wanted to do that. Yes, there’s people I would love to do a duet with. My tastes have always been towards artists that are more edgy.
I love Talking Heads. I love the John Prines. I love Chrissy Hynde and the Pretenders, like, beyond.
I always have my heroes I would love to work with, for sure. A video came up on my phone this morning that I hadn’t seen in years of a hit that Kenny, James Ingram, and I had with a song called What About Me. It was a trio, and it reminded me, Kenny’s gone, James Ingram’s gone, yikes.
I sit here waiting for someone like you Someone to give my heart and soul to I look into your eyes Your look for me was such a welcome surprise I think at last I found forever But what about me? I always need you Oh, what about me? I always need you You were my love before This is what lovers must go through at times Can we talk about my, in parentheses, Kim’s version of Bette Davis’ Eyes? Oh, yes, please. Yes, yes. I’ve got my own version of Bette Davis’ Eyes that has been used in some films, but is streaming on all the streaming platforms right now.
Just had a million streams on Amazon, and most of my original band is playing on it. A few key members have passed, but it’s the same arrangement because same keyboard player, same drummer. It’s just sonically more modern, just a little better.
And I ended up doing it because there’s some bad actors out there who are making a lot of money off their own version of that, but taking my vocal, stealing it. So I eventually went, I just need to do my own. And I’m so happy I did.
It’s out there streaming and it’s getting great support and reactions. So I’m really glad I did it. Her hair is hollow gold Her lips a sweet surprise Her hands are never cold She got Bette Davis’ Eyes She’ll turn her music on You won’t have to wait She’s pure as New York snow She got Bette Davis’ Eyes And she teases you She un-eases you All the better just to please you She’s precocious And she knows just what it takes to make a wish She got Greta Garbo Stand on her side She’s She’ll let you take her home No, it’s a happy time She’ll lay you on her throne She got Bette Davis’ Eyes She’ll take a tumble on you Until you come up She got Bette Davis’ Eyes That brings me back to the fact that music’s not made the same way as it used to be.
You talked about, you know, everybody in the same room living it raw, live, doing it. You can’t do that anymore today, or can you? Yes, most people don’t do it, you’re right. But I can’t like doing it any other way.
I just love the energy. I like to get my vocal at the same time the band gets their best performance. And it’s just what I’ve always done.
I also believe in the spontaneity of that. You never are going to play it and record it the same way twice if you do that. So I wait for the tingling in the arm.
And when we all have it, it’s like, okay, we got it. To me, that’s the best part of recording. So I wouldn’t want to take that away.
It’s just like mixing. Now it’s all automated. But I can still choose to not do that and put my fingers on the faders of the board and mix like things used to be mixed because mixing is also a performance.
You know, every mix is different. And I want that spontaneity. I love it.
To me, that’s the heart and soul of great music. Are you still doing live shows? Yes. Gosh, when I moved to Nashville, I met all new players, and I have a wonderful band.
They’re just incredible. And that’s really important to me. I mean, I’m really close with any band I’ve ever had.
We’re family, and that’s important. You know, have fun on the road. I’m in awe of how good they are.
So they inspire me for sure. Just finally, Kim, can you share your secrets about how you look still so fit and healthy and glamorous? Glamorous? I’m not sure. You’re definitely glamorous.
If you could see my running shorts and tannies. Glamorous is not about what you’re wearing, Kim Carnes. Not in my view anyway.
Okay, I’m glamorous. No, I’m not. But I walk several miles every day.
I always have. I used to walk to school always, and I love it. I’ve never, ever stopped.
I eat really healthy. I think being from California, born and raised, all my friends that still live here, they all look great. They’re all healthy.
California is a healthy lifestyle, and I can’t imagine living any other way. I want to feel great. I want to be in good shape, and I want to put good, healthy food in my body.
So it’s just a lifestyle, but I believe in it 100%. You look great for it. Kim, I’ll let you go.
You’ve been super generous with your time. I’m really, really grateful to you. I’m so glad to finally meet you and do this.
It’s wonderful. It’s great. We did it.
Yay! Isn’t she gorgeous? Two-time Grammy-winning singer-songwriter Kim Carnes, whose extensive writing and recording career spans more than five decades. While Kim’s musical style across 13 studio albums has always remained eclectic, her songwriting has been marked by an innate ability to fuse heart-piercing lyrics to indelible melodies. I hope you’ve enjoyed her story.
Can I count on you back here same time next week? I hope so. Have a good one, won’t you? Bye now. It’s a beautiful day You’ve been listening to A Breath of Fresh Air with Sandy Kaye.
Beautiful day Oh, baby, any day that you’re gone away It’s a beautiful day.