Welcome to MusicDayz

The world's largest online archive of date-sorted music facts, bringing day-by-day facts instantly to your fingertips.
Find out what happened on your or your friends' Birthday, Wedding Day, Anniversary or just discover fun facts in musical areas that particularly interest you.
Please take a look around.

Fact #107135

When:

Short story:

You're in My Heart by Rod Stewart reaches No1 in the Australian Pop Singles chart.

Full article:

Tom Dowd (producer) : We're up in Toronto about two days, and in the middle of the second day in the studio working on a vocal and out of a clear blue sky, Rod lifts the earphones off, he says, "I can't sing in this place. I can't stand this city. I want out of here." He goes storming out of the studio. And he was singing well. I thought, "Oh, boy, what do I do now?" Because we had shipped the tapes into Canada, through customs, I now have to make certain that everything is packed the same way, stored in the same boxes, so that I can get it back out of the country and not have it held by Canadian or American authorities.
And Rod comes busting back into the studio about a half-hour later. He says, "When are we going to leave?" Now he's really uptight. And I described to him, "Rod, I have a problem. Because we brought these things into the country, we have to ship them out in exactly the same cases, the inventory lists have to read the same, otherwise we'll have..."
And he has no patience with this. "I'll wait in the car." Finally, I get out into the car, and he's sitting there with his notebook, and he says, "Take this song down." I look at him, and I say, "I don't have my recorder." Well, I had a stream of expletives go by that only an English soccer fan could have used. He was livid.
And I said, "Sing me the song." And he says, "What for?" And I said, "Sing me the song." So he starts singing this verse, and he sings me this chorus that he's written, and I have a piece of manuscript, and I am scribbling down what he has written, as he's singing it. And I say, "Sing it one more time, and then stop." He sings it one more time, and I say, "Okay, now what's the verse go like?" And he says, "Well, I haven't finished the verse, but it goes 'la-de-da.'" And I'm thinking, "I don't want to make him self-conscious. He just changed keys on me. I won't say anything."
We get all the way back to Los Angeles, and Night on the Town becomes a monstrous hit. He goes on the road. Comes back from being on the road, and calls me up one day in Miami, and he says, "Mate, how would you like to record next week? I'm ready to record." I said, "Fine." I get out to Los Angeles, and he plays me one or two songs that the band has worked up. We start to record, and about halfway through the first date he looks at me, and he says, "Knock it on the head." I said, "What do you mean?"
He says, "It doesn't sound good. It sounds terrible."
And I said, "Rod, it's going to cost us money. We've booked the studio, and we've contracted the musicians for two sessions a day for the next three days, and whether we record or not, we have to pay them." Well, now there's another series of expletives; here we go. I said, "Look, we have to find something to do."
So we're going back through old songs and notes that I have in this shoulder bag. And I come up with this piece of manuscript, and I say, "Wait a minute! Do you remember you played me this thing? You sang me this song." And I start to play him like two bars of it. He says, "Give the band a lunch break. I'll be back in an hour." And that was You're in My Heart." I still have the original manuscript where I scribbled down his nutty singings when we were in Toronto. At his last wedding, I toted along the manuscript, and Rod scribbled on the bottom of it, "Mad shoutings from a Toronto car park.
(Source : not known)