I deleted Winifred Lovetts spoken intro, because it was too long like Barry White, too serious, too crummy and too boring in the beginning and I dont like it, so Id rather myself keep the singing part by Gerald Alston, that sounds a lot more like Sam Cooke from years ago, in an R&B/pop style which shows more interests.
Heres the story:
We spent four years with Carnival, four years with Starday-King Deluxe, and then signed with CBS (Columbia Records) in 1973. The years before we hit were not too easy. We were limited in the places we could play, and our sales were mediocre. To keep our families going, we all had to get part-time jobs.
There were lots of songs I sat down and composed. I did big arrangements on em -- worked on em for a week -- and nothing happened. A lot of times I heard songs in my sleep, but I was too tired to get up and struggle in to where the piano was.
But this particular night, I just couldnt lie there. I heard the melody. Everything was there. I got up about three oclock in the morning and jotted down the things I wanted to say. I just put the words together on my tape recorder and little piano.
Ive always thought that when you write slow songs, they have to have meaning. In this case, its the love triangle situation weve all been through. I figured anyone whos been in love could relate to it. And it seemed to touch home for a lot of folks.
To me, Kiss and Say Goodbye was a country tune. I didnt really mean it for the Manhattans. I wrote it for Glen Campbell, Charley Pride, one of those people. I didnt think the Manhattans were ready for it, being labeled rhythm and blues artists.
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