Welcome to A Breath of Fresh Air with Sandy Kaye. How are you doing? I hope you’ve been really enjoying yourself since we last caught up. This week we’re heading back through time to learn about what was happening in the Australian music charts in the 60s.
It was a period when American and British music dominated. There were some Australian musicians who enjoyed international success. The Seekers, for instance, becoming the first Australian group to sell over a million records.
But it was groups like The Strangers that really started to capture the imagination of audiences right around the country. So to pick up the story today, I’d like you to meet music producer, songwriter, arranger, singer and guitarist, John Farrar. John was one of the members of The Strangers who went on to write and produce for many artists, including Olivia Newton-John.
He also co-produced the soundtrack for the film Grease. I was amazed to discover how humble he is. For all intents and purposes, you’re the person behind the late Olivia Newton-John.
You brought her to the limelight. So if I can flip you right back to when you first started out, 1964, with a band called The Strangers. That was my big break after getting out of high school.
I joined The Strangers and I was in it for about six or seven years. And we had so many great opportunities in that band to learn about recording because the recording industry in Melbourne was very young at the time. So we ended up doing a lot of the sessions and then we started to write arrangements for various artists.
So it was a great educational time for us. Tell me a little bit about the band. Paint me the picture of who they were and what the era was like in Australia at the time.
Well, the band’s leader was a guy called Peter Robinson, who’s still working and still doing great. He asked me to join the band and he was a big Beach Boys fan. So we used to do all the Beach Boys stuff and Beatles stuff.
We had a guy called Freddie Whelan was the other guitar player and Garth Thomson on drums. And then a couple of years later, Freddie was replaced by Terry Walker, who was a great guitar player and great singer. So we did very well for quite a few years playing live and we made a few records, but we mainly recorded for other people.
At the time, the scene in Melbourne was really lively, wasn’t it? It was the first time that really rock and roll, that rock bands were out there playing live and young people were flocking to the pubs and clubs everywhere. It was a great time, yeah. And we used to play at a place called Opus down St Kilda, the town hall.
And sometimes we’d share the bill with the Twilights and the James Taylor move. And I mentioned those two groups because Terry Britton went on to become an incredibly successful songwriter in England, but he did Tina Turner’s records. And the James Taylor move was Alan Taney, the bass player, became a really successful producer, writer in England as well.
So it was great fun in those days. We didn’t sort of know what we were doing, but we were doing our best to learn about it. Had you all met at school? No, no, we didn’t know each other at school.
We were all from different, I was from Moonee Ponds. I don’t know where the other guys came from, but we all met up through, there was a show called The Go Show that was a weekly television show that we were the resident bands of. So we had to back everybody.
And that’s how we met most of the musicians that we, some become lifelong friends. So you said you had a few hits, which was your favorite? With The Strangers? Yeah. Well, I think there was one called Melanie Makes Me Smile that was a hit.
I don’t know whether it was a hit through Australia, but I think it was a moderate hit in Melbourne. I remember it. Oh, you do? Yeah, I certainly do.
It was a great song. You also recorded, you said, for a lot of bands. You were what, session musicians at the time? We were session musicians and arrangers.
So we, sometimes we would do the rhythm track or sometimes Pete or myself would arrange like brass and strings for different groups. People like Ronnie Burns and Johnny Young. I did a lot of work for them.
I think I did Arkansas Grass for- Brian Cadd? For Brian Cadd. I think I wrote something for that. I can’t, well, maybe I played guitar There’s been so many hits, John Farrah, haven’t there? It must be hard to keep track of them all.
Were you always determined to be a musician? Was that the life plan? I didn’t think it was possible to be a professional musician. I used to go home from school and sit with my brother’s $19 record player and work out the guitar parts on different records, But I never really thought it could become a career at that stage in my life. When did it become apparent that it would? Well, once we got into the recording scene, then it became really a passion to do as much as we could, because that was such an exciting time for us, you know.
Why was that exciting? Well, learning about recording. And initially, we started working with a mono machine, and then a guy called Bill Armstrong built a studio called Telefill. And he had a three-track machine, which just blew our minds.
We couldn’t believe how exciting that was. And then we got eight tracks, and then 16. And it was just an incredible time of advancement technologically in the recording business.
So was it that side of things that interested you more than making music, or it was the whole kitten caboodle? No, I loved making music. I just wasn’t… I was a terrible performer. They used to call me Stoneface in The Strangers.
I was much happier in a recording studio. You didn’t like to be out front on stage? Not particularly. I mean, I enjoyed it.
And then when I went to England, then I had to stand out the front with Hank and Bruce, and that was a bit scary for me. I want to talk to you about The Shadows. It was an incredible time for you, too.
But before we leave Australia, when you were the resident band on The Go Show, you’ve already described that weekly youth-oriented TV series. There were a couple of singers that were also on the program that you became quite friendly with. Can you share that story? Well, my wife was a singer on the show, and Olivia… I think I actually met Olivia before Pat.
Olivia was on a show called The Johnny O’Keefe Show, where she won a talent competition. I think she was only about 15. She sang, What Do You Think I Am?, just a baby.
And she obviously had great potential. Not that I was capable of looking that far ahead. I was very much just in the moment at that time, I think, which most people seem to be at that age.
Yeah, we all became close friends. When I grow up, you’ll see me, all right, you’ll see. And could be then there’ll be other men looking at me, and maybe I’ll be looking at them, not you.
One of these days when I grow up, you’re gonna whistle when I pass. Was it immediately apparent with Olivia that she was full of talent? Well, I just thought she had a lovely voice, and obviously she was beautiful. But I can’t claim to know that I saw her potential.
Oh, that’s very modest of you, because you obviously did, and you fostered it a little bit later on. So, of course, you weren’t married at the time to your wife, Pat Carroll, and Olivia became your friend. What happens to you next? Where does life take you next? Well, we continued working live.
And we had a gig at a place called Menzies Hotel. And the Shadows were booked to play there. And we were the support group.
You don’t even move me. There’s no denying. Bruce said that they were looking for a high voice to start a vocal group.
And they asked me if I would come to England. And, of course, I agreed immediately. The Shadows, till that point, had been totally instrumental, hadn’t they, with Hank Marvin and Bruce Welsh? They were instrumental.
But they pretty much called it a day, I think. There was a lot of vocal group stuff happening, like Crosby, Stills, and Nash, and America, and groups like that. And they wanted to have a shot at that.
So I flew over, and we couldn’t start. So this is the irony of it all. We couldn’t start working as a group, because Hank was resident.
I guess you’d say resident comedian. He was doing sketches on, I can’t remember, Cilla Black’s show or Lula’s. It might have been Cilla’s show.
So Bruce and I couldn’t work. So we managed to go to Portugal and start rehearsing for the first album. But when we got back, we couldn’t really do anything.
So Peter Gormley said, well, why don’t you and Bruce start producing Olivia? See if you can come up with something for her. So we started recording her. And the first thing we did was, if not for you, the Bob Dylan song.
If not for you, babe, I couldn’t even find the door. I couldn’t even see the floor. I’d be sad and blue, if not for you.
If not for you, babe, the night would see me wide awake. If not for you, babe, the day would surely have to break. If not for you, if not for you, if not for you, my sky would fall, rain would gather too.
Without your love, I’d be nowhere at all. I’d be lost, if not for you. That became a hit.
So when I wasn’t working with Marvin, Welsh and Farrah, Bruce and I would be producing stuff for Olivia at Abbey Road. Right. So Olivia was there with you in the UK because at the time she was engaged to Bruce Welsh, wasn’t she? That’s right, yeah.
Why did you choose that Dylan song for her? Well, I can’t claim to have done it. Well, I don’t know whether it was Bruce or Peter Gormley or the man who ran Festival at the time, Festival Records, they signed Olivia. She’d just done a movie called Tomorrow, which hadn’t been the success that they’d hoped for.
So the festival signed Olivia. I was on for the ride on that one. Right.
But you helped to get it out there. Well, I played on it and usually did the arrangements and all that stuff. How surprising was the success of that song to you guys? Quite surprising, you know, but it was a nice surprise.
And then we continued on and did a couple of other things thanks to The Ohio. And at some point, a few years later, Bruce dropped out and I had to continue as sole producer. That was a tough time for me because it was a big responsibility.
But John not only rose to the challenge, he exceeded everyone’s expectations.
This is a Breath of Fresh Air with Sandy Kaye. It’s a beautiful day. John Farrar and his wife Pat Carroll had moved to England, where John recorded two more albums as part of the trio with Hank Marvin and Bruce Welsh.
While the Shadows went about trying to reinvent themselves from an instrumental group to a vocal one, John Farrer busied himself working with Olivia Newton-John. That year, the single Let Me Be There climbed to number six pop and top ten country, becoming Olivia’s first gold single. Wherever you go Wherever you may wander in your life Surely you know I always want to be there Holding your hand And standing by to catch you when you fall Seeing you through In everything you do Let me be there in your morning Let me be there in your night Let me change whatever’s wrong And make it right Let me take you through that wonderland That only two can share All I ask you Is let me be there Olivia received four nominations from the Country Music Association for Let Me Be There and won the award for Female Vocalist of the Year.
The next song she recorded was originally intended as a cut on Peter Allen’s debut album. We recorded I Honestly Love You in a little tiny studio in Tin Pan Alley. That turned out to be her first number one.
The song was co-written by the leading American songwriter Jeff Barry, who’d penned Be My Baby and Sugar Sugar, amongst other hits, and the Australian singer-songwriter Peter Allen. The pair demoed the song for themselves, but it found its way to John Farrah, who played it for Olivia. She loved it, and it helped launch Peter Allen’s career as a songwriter.
Maybe I hang around here a little more than I should We both know I got somewhere else to go But I got something to tell you That I never thought I would But I believe you really ought to know I love you I honestly love you You don’t have to answer I see it in your eyes Maybe it was better left unsaid But this is pure and simple And you must realize That it’s coming from my heart and not my head I love you I honestly love you Honestly Love You went to number one, so she started touring in America at that point. She became huge news. John Farrah, you said that was a tough time for you once Bruce had left and you were on your own to produce Olivia.
Did you lack the confidence? You strike me as somebody who doesn’t have a huge ego, and I guess to be completely confident with what you’re doing, you need to really believe in yourself and be quite egotistical. Is that a fair summary? To be really successful, you’ve got to be really confident. Unfortunately, I was never terribly confident, and at the time, there was a lot of people associated with Olivia who were worried about whether I had the ability to continue with it.
But luckily, we had I Honestly Love You, and I wrote Having Everything Mellow, which was on the same album, so we got another number one with that. We had a really good run, and that’s really when her career catapulted up the charts. So were you believing in yourself then? When was the turnaround point where you kind of said to yourself, hey, I can do this, I’m doing it? I don’t think there ever was one.
After those ones, I did an album called Clearly Love with Olivia, and then Olivia wanted to go to America, and Peter Gormley, her manager and my manager, said I think you should go with her. So we pulled up stakes and went to live in Los Angeles, and the first album that we did in America, I used Olivia’s live band. That was just my lack of experience, and that didn’t work out, so we decided we should go to Nashville.
So we flew down to Nashville pretty much immediately after we’d had a couple of bad sessions, and we had a lot of fun down there and a great recording experience. There was a time when I was In a hurry as you are I was like you There was a day when I just Had to tell my point of view I was like you Now I don’t mean to make you proud No, I just want it to slow down Oh Have you never been mellow? Have you never tried To find the comfort from inside you? Have you just to hear your song? Have you never let someone else be strong? It gave me a little bit more confidence, and then after that we did Totally Hot, I think, and that did fairly well. It was a song I wrote called A Little More Love that was a hit, and while we were doing that, the grease thing came along.
Olivia was kind enough to ask the producers if I could write the ballad that they needed for her because they didn’t have a ballad for her. So I did Hopes You’d Vote It To You, and they liked that and asked me if I would have a shot at writing the duet at the end. It was kind of, you can have a go at it if you want, you know, so I had a go, and they liked that as well, and luckily they were both in the movie.
Guess mine is not the first heartbroken My eyes are not the first to cry I’m not the first to know There’s just no getting over you I know I’m just a fool Who’s willing to sit around and wait for you But baby can’t you see There’s nothing else for me to do I’m hopelessly devoted to you You must have been flying high then. That was a thrill for me, yeah, and then Hopes You’d Vote It To You got an Academy Award nomination, so I went to the Oscars, so that was a big thrill, you know. I didn’t win, but it was fun to be there.
You’re an incredibly talented and amazingly humble person, aren’t you, John Farrar? Oh, no, no, I’m just realistic. Oh, I don’t know. I think if I was to ask Pat, she’d probably agree with me because you’ve done some phenomenal things.
You are talented as a producer, as a guitarist, as a singer, and as a writer, so many facets to your career. But it seems that you’ve been thrown in the deep end each time and you’ve had to either sink or swim. Well, there’s something about deadlines that are really helpful because you don’t have time.
I mean, I overthink everything, and when I don’t have time to overthink, then somehow things work out. I’ve got a terribly severe editor in my head. I get that.
Yeah. And what happened to The Shadows meantime? I mean, because you did spend a little bit of time playing with Hank and Bruce, didn’t you? Yeah, I was with them for about six years. It was an uphill climb trying to get people to be interested in anything.
Then The Shadows hits you like Apache and all that. So we’d go out and we’d do our Martin Wilson Farris set and there’d be voices yelling out, Play Apache! So what happened is gradually we went back to being The Shadows. So I stayed on guitar and we sang a few songs and played some Shadows songs.
And that was a fun period, and we ended up doing Eurovision, representing England. And then not long after that was when Peter Gormley said, you know, you want to leave, you should go to America. So we did in like 1976 or 77, something like that.
Apache is probably the best-known work by British proto-surf rock band The Shadows. It was a number one hit on seven international charts at the same time. When John Farrah left the group, they dropped their vocal attempts and returned to being solely an instrumental band.
John then deepened his relationship with Olivia. We’ve known her since she was like 15. We’ve stayed very close friends, so, you know, losing her was devastating to us.
She was something special, you know. I’ve met a lot of celebrities and she just didn’t have that star thing. She was the nice person that you’d imagine her to be.
I always say that to people who ask me about her, I say she’s exactly what you think she is, you know, because she comes across as just a lovely, lovely person. And she was great. She was very talented, lovely singer.
Really, her voice was so unique, I thought, and pure. She was pure through and through, wasn’t she? Yeah. She was that Sandy from Greece.
Yeah, and I feel so lucky to have been involved. You did start branching out a little bit, though, because in 79 you produced an album for the Moyer sisters. Yes, I did.
Tell me about that one. That was Tony King from Elton John’s record label asked me if I would do it, and I didn’t think I did a very good job on that one. I hired an arranger to do a string session for me on that, and he turned up without any arrangements.
It was one of those things where things didn’t work out, and those three girls were so talented. Their natural harmonies were just beautiful. It was hard to figure out how not to mess that up.
It was so pure. It was hard to figure out what to put around them. I don’t think I did a very good job, but I tried.
Morning, how are you? It’s nice to see your face You’re the only one that I would ever love And you’re smiling all the time And you’re smiling all the time And it’s because you are happy with me The Moyer sisters were a Scottish-Australian pop and vocal trio that formed in 1970. Their debut single, Good Morning, How Are You, in 74, peaked at number eight on the charts and remained in the top 50 for 19 weeks. By the late 70s, the girls travelled to Los Angeles to record their second album, which John Farrah produced.
John, do you think you did a good job on anything? Is there something that you’d pat yourself on the back for and say, yeah, I nailed that one? Some of the Xanadu things worked out. I had to do a song on Xanadu where Olivia would sing like an Andrews sister type song. So I had to write a three-part Andrews sister song and then I had to get the tubes.
I had to write a rock song for the tubes and they’d do each part separately and then they had to work together. I had to play both things at the same time and it came together. I had to deliver the demo tape to Kenny Ortega on the set the following day and I worked all through the night.
I think I finished it like one o’clock the next afternoon and had to drive straight and give it to him by two o’clock. It was a miracle. Which song are we talking about? It was called Dancing.
It’s not a very well-known one. It was just a typical musical thing, you know. All right.
The movie Xanadu didn’t work out as well as they’d hoped for it either. That was 1980. But for you the experience surpassed the success of the movie in terms of being paired with Jeff Lynne from ELO.
Yeah. Jeff did half and I did half. One of my songs, Magic, was the first number one in the States so I was very pleased with that.
The album did great and Jeff wrote the song Xanadu for Olivia. It was a huge hit. Come to my, you should know me I’ve always been in your mind No one has to start now There’s no other road to take This day, I’ll be guiding you I still believe we are magic Time can’t stand in our way You have to believe we are magic Don’t let your head ever stray Unless all your hopes survive Destiny will arrive Bring all your dreams alive For you Bring all your dreams alive Xanadu the movie starring Olivia and Gene Kelly absolutely bombed at the box office.
But the soundtrack set John Farrar up for life.
This is a Breath of Fresh Air with Sandy Kaye. It’s a beautiful day. John Farrah’s work on the movie Xanadu saw him produce Gene Kelly and watch him teaching Olivia how to dance.
John, tell us about the songwriting process for you. I’ve always been into melodies so I’d usually come up with a chord sequence that I liked and then start singing something over the top of it that was usually nothing. Sometimes I’d be lucky enough to pick up a guitar and sing the first line not knowing what it was going to be.
Just the first thing that came out of my mouth and sometimes it would work. It was strange but I would come up with it. Like maybe a verse with not all the lyrics then I’d figure out musically the whole song and then I’d spend time writing the lyrics.
Which is the song that you’re most proud of? Musically, suddenly is one I’m proud of. She walks in and I’m suddenly a hero I’m taken in, my hopes begin to rise Can’t you tell I’d be so thrilled To see the message in your eyes You make it seem I’m so close to my dream Suddenly it’s all over Suddenly the wheels are in motion And I’m ready to sail any ocean Suddenly I don’t need the answers Because I’m ready to take all my chances With you I don’t know, hopelessly devoted to you when I hear it again these days I thought it was pretty reasonable, you know. Gosh, John, it’s so much more than pretty reasonable.
It is still a great song. It was a huge hit. Pretty reasonable.
You’re the one that I want. I was at a party one night and I heard they played it. The people were dancing to it.
And I thought, wow, that does sound pretty good. It’s funny when you hear things in a different context, in a different environment, it may be appreciated in a different way. You’re the one that I want You’re the one that I want Suddenly you’re the one that I want Suddenly you’re the one that I want Would you describe yourself as a perfectionist? I don’t know, that sounds a bit Too much? Yeah, all I know is I worked really hard on what I did, whether that’s perfectionism or just being realistic enough to know that if I didn’t get it right You wouldn’t be asked to do the next one? No, I wouldn’t get the next one, yeah Right.
So John Farris, the 80s did get underway. Olivia started to shed that squeaky clean image a little bit and we next saw her performing physical. Jane Fonda was out there doing all of the exercises and every woman on the planet was wearing the leg warmers and hitting the gym floors doing aerobics and you have captured some of that.
Can you tell us what happened with physical? Well, a real close mate of mine is Stevie Kipner who wrote physical and we were doing a writing session and he played me physical but said that they were trying to get it to Tina Turner. So it never occurred to me that Olivia would do it. She heard it, loved it and we did it and it turned out really well.
Sure did. Was she not worried about getting rid of that clean image? Well, I remember when she was doing the vocal, she said, listen, I’m really worried about this. Do you think people are going to accept this? And then I think she realised it was a good thing.
It wouldn’t hurt her to stage her career at all and in fact it opened up a whole other world for her. I’m saying on aviation I took you to a little island There’s not a lot of sand Physical was banned on several radio stations at the time too. That wouldn’t have hurt sales at all either.
Were you really confident in recommending it to her? No, I didn’t recommend it to her. She heard it and wanted to do it and once she said she wanted to do it, that was fine with me. I’m not savvy enough to understand what people want and Olivia was always pretty in touch with universal taste, I guess.
We did it and it worked out. I thought it was a great song. When I heard it the first time, I thought, oh yeah, it’s obviously Tina Turner’s going to do that one.
It never reached Tina Turner? I think it was intercepted by Olivia, yeah. So mid-1980s now and Olivia has her final success with you. What happened with that one? She’d done her duet with Cliff Richard? Yeah, we did an album called Soul Kiss that didn’t have a big hit on it and at that point she was going to do another movie with John Travolta and by that time I felt I was really burned out because I did the Physical album, the Xanadu album and I was also doing another album of my own all at the same time and I was really burned out and I just couldn’t do any more.
I needed to take a break. So I took a break. I think she did some stuff with David Foster and I think she did some stuff with Elton John and then she asked me if I’d do another album with her and I did and it didn’t happen.
So that’s life and I figured I’d had a pretty good run so I couldn’t complain. And you were doing your own stuff meantime too? Yeah, it was crazy. I was working like 14, 15 hours a day.
I remember I had to do a thing for a little country piece for Xanadu and there was a dance section at the end and I had to do a little country and western thing and I didn’t have anything prepared. I played this little melody and we kept that. I added the guitar to it and then I had to put a bass on it and I used to sit on the couch playing the parts and David Holman would sit facing his recording board and he said I was playing the bass part and he said I couldn’t work out.
He kept playing but he slowed down. He turned around and I was asleep. I was asleep and I kept playing.
Talk about burned out. How incredible. I guess that was a big warning sign that you needed to pull up stumps for a little while.
Oh, yeah. So did you? Did you take a break at that point? Yeah, I took a break for a while. Well, that was after Xanadu and then I did that other album with Olivia that didn’t do well and then I did the Heathcliff album for Cliff which was quite a long process.
That took a couple of years. That was fun and that was pretty successful in England. He did it as a live show but not in small theatres and big stadiums.
That did well. The story is a famous one Now worshiped Now dismissed Rehearsed and Trolled for meanings That may well not exist The demon at the story’s heart The cuckoo In the nest He has sold it all himself away Which is the reason why he will stay In this immortal and should be slain By whom all want for dead These are the facts of the matter These are the names in the case Heathcliff was a musical in 96 conceived by and starring singer Cliff Richard. It was based on the 1847 novel Wuthering Heights by author Emily Bronte.
Shortly after the record came out John got the shock of his life when Hollywood director Francis Ford Coppola called him on the phone. He said, would you have breakfast with me? I thought, someone’s pulling the leg here. I went and had breakfast with him and he said he wanted to do a musical of Gidget.
He wanted to write the songs with me so we spent quite a long time coming up with all these songs and at the end of it, apparently he said he just couldn’t get a deal for it, a film deal. But I think probably they just didn’t like the material. They didn’t like the songs.
That was a big disappointment for me because when you hear that name you think, oh wow, this is great. Yeah, sounds like a great project. Well, it’s still sitting in the vaults.
It may see the light of day. Well, yeah, I doubt it. I doubt it.
What are you doing? Because my mother used to say, it’s an old experience. You’ve done pretty well from the high school dropout from Moonee Ponds in Melbourne, Victoria, Australia, haven’t you? From Dame Edna’s land, yeah. That’s right.
And did you always find through the course of living in America that that Aussie accent helped? Well, I think Americans like Australians and they love Australia. Most Americans that I’ve met say, oh, I can’t wait to go and see Australia. And, you know, the Paul Hogan Ants were great and Crocodile Dundee and there’s so many Australian acts now and Little River Band were huge.
ACDC that I love, they’re great. Are you an ACDC fan? Yeah, I think they’re amazing, yeah. I didn’t appreciate them until I heard them in a big club one night.
Holy shit, that’s amazing, you know. They’re talented boys, yeah. You keep up at all with any of your high school friends from Moonee Ponds? I actually do, yeah.
I email a couple of them and sometimes I see stuff on Facebook from Essendon High School. They must be very proud of you. I think I’m forgotten by most people now.
John Farrow, that’s not true. No way. You’re being very nice.
No, I’m not. You are one of Australia’s foremost musical exports and we’re all very proud of your accomplishments. So many songs penned by you and to a very large degree you were responsible for Olivia Newton-John’s career.
You’re just a very sweet and very humble man. Oh, thank you very much. That’s very nice of you to say that.
I better let you go. I really appreciate the time that you’ve spent with us. John Farrow, what an absolute pleasure chatting with you and congratulations on an awesome career.
You describe yourself now as semi-retired or fully retired? I would say I’m semi-retired. I still spend most of my time in my studio and I play golf. That’s my life.
I’ve got two wonderful boys who’ve done very well. Sam’s in Maroon 5, plays bass, and my youngest boy Max is doing very well as well. Also in the music industry? Yep, he’s done work for The Script.
They’re both very talented. I’m very proud of them. I’m a lucky man.
Thank you. Thank you. Better safe than forgetting My heart is saying don’t let go The multi-talented John Farrow there, a real quiet achiever.
Thanks so much for joining me. I hope you found today’s story interesting. I’ll be looking forward to being back in your company again same time next week.
Join me then, won’t you? Bye now. Because 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