THE BEGINNING IN THE END WAS SLATHERED IN SUNSHINE…

This country-fried track was off what would have been Crayon’s third (and final) album.

By 1982, Wayne had become disenchanted with his position in the color box. I didn’t blame him. He and I had little influence over how Crayon records were mixed, and—much to our protestations—David, our producer, seemed to be mixing him out of the picture. At the same time, I was getting tired of the chilly San Francisco summers. So in 1983, I moved back to sunny Sacramento to continue writing and recording on my own, and Wayne went on to bigger and other.

4 thoughts on “THE BEGINNING IN THE END WAS SLATHERED IN SUNSHINE…

  1. Was David a producer assigned to your band, or was he your choice? It’s too bad that he had a different vision for the direction of the band. I like your song, and thanks for sharing it. I think that it has a really solid pop groove to it.

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  2. Thanks, Rob. No, David chose us. We would not have had the opportunity to record anything at that time were it not for him. Unfortunately, that made it awkward for Wayne since he was a vocalist and not a writer per se. Wayne was certainly an integral part of what Crayon was—we were a duo, after all. But by diminishing Wayne’s role, David was essentially telling him “I don’t want you here.” In the end though, Wayne’s creativity was probably better- served elsewhere, as he seemed to be becoming less interested in the music thing. While I, on the other hand, was becoming more interested in it.

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  3. That’s a great song Caron. It’s a different feel than most of the Crayon songs I’ve heard, but still recognizable by your distinctive voice. Having experienced the frustrations of working with a difficult producer, I can sympathize with your plight. I had written two songs that were being recorded by the Continental Drifters (Peter Holsapple of The dB’s, Vicki Petersen of The Bangles and Susan Cowsill, et al) who were recording a reunion CD in 2005. I didn’t care for the mixing and “structural” changes made to my songs. It altered their feel and message. I threatened to pull the licensing/recording rights as the author. The producer went ballistic and threw me out of the studio. Warranted or not, it was all for naught because, a month later, Hurricane Katrina removed all evidence of the studio and its contents from the map. That wouldn’t have been my first choice for a resolution to the problem.

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  4. Thanks so much! Yes, the song does have a different feel—a bit closer to the demo’s Wayne, and I use to bring to the studio. In the past, I would cringe at the thought of revisiting old Crayon stuff. Recently, though, I’ve begun to appreciate the innocence of those songs, and the enthusiasm Wayne and I had while recording them. And while we were fortunate to have had the opportunity to record as we did, it is a pity that by our third time around, he was not more a part of things. I don’t think he was mixed down or out maliciously, but in hindsight, it does seem a little fishy.
    In any event, that’s some story about Katrina fixing your producer problem!

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