![]() ![]() We tweaked the melody and chords that went around the song. She asked, “What’s a double entendre?” I replied, “A double entendre means more than one thing.” The song was “You Give Good Love.” So, we went into the studio, and we did a lot of tweaking to the song. I told her that we needed to make it a double entendre. I asked her, “Why didn’t you give it to me?” She said, “I already sent it to Roberta a long time ago before I signed with you.” I replied, “Let me hear the song, Lala.” She played it, and I said, “Lala, this is a hit song.” She told me that my tape was over there on the floor in a pile with the rest of the tapes.” So – any writer that is emotional about their work hears that their tape is on the floor in the corner, it doesn’t sound good. I said to her, “What’s going on with you?” She replied, “Well, I called Roberta Flack, and I told her assistant I sent her a song, and she was kind of snarly. She was a writer for my publishing company, and when she came over, she was in an ornery mood. So, the next step was, I was in my apartment in New York City and a woman by the name of Lala Cope came over one day. He didn’t push me he just gently nudged me. This just goes to show the brilliance of Clive Davis. So, this is when I really started to dig in deep to write songs for her. ![]() She was on the show singing “Somewhere over the Rainbow.” When I heard her singing it, something clicked in my head, and I knew what I could do with her. One day, I was in California at the Arista Records office, and they happened to be playing the Mike Douglas show there. I was in a quandary over what I should do with her. It’s either great ballads or funky synths and everything in between. As you know, I’m not a cabaret song producer. For the first seven months, I didn’t know what to do with her because I had only seen Whitney sing cabaret songs. Clive Davis was asking me to do something on the record for about a year. How did you become involved with the project? ![]()
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