Approaching the studio late last Tuesday afternoon I really had no idea what to expect, for never before had an established English artist recorded in Memphis with Memphis musicians. I found Dusty in the control room munching from a box of Vick's menthol cough drops.

She was obviously surprised (and hopefully pleased) that the NME [New Musical Express] came all the way to Memphis to see her.

As the studio musicians (drummer Gene Chrisman, organist Bobby Wood, guitarist Reggie Young, and bassist Tommy Cogbill) were rehearsing, conducted by Atlantic's arranger, Arif Mardin, Dusty was discussing the arrangement with engineer Tom Dowd, and Jerry Wexler, president of Atlantic Records.

When all was in readiness, Dusty went to the studio and that lovely breathy voice of hers soon filled the room. As she sang, engineer Dowd remarked: "Recording Dusty reminds me of recording Jack Bruce (of the group Cream). You never quite know when she is satisfied with her performance. With Eric (Clapton) it's just yeah Eric or no Eric, but not Dusty. She has an intelligent opinion and you must respect it. It's a delicate situation!"

Delicate or not, she seemed to have no difficulty communicating the feeling of the song to everyone there! Later, she spoke of differences in recording: "It's really great here, so relaxed and calm! There's an attitude of communication between the singer and the musicians. You can take your time and get it just right.

"Everything in Europe is so clinical, someone looking at all the meters every second.

"This is quite posh compared to some places in England, thoug. If you told someone there that the studio in this building had no front office, they wouldn't believe you. In England, you always find the front office glass panels and carpets bit! Here they do without that."

Terry Manning
New Musical Express
1968