elmore, I'm kind of in the same boat, although at least Sally gave me credit. The others you mention rarely do and I don't know that any of them would quite be where there are if I hadn't kickstarted that aspect of their lives. It's fine. Your contribution to all those CDs, as well as mine, were huge, and that includes, on my part, having much input on the arrangements, especially on the first album - Alex did each and every one, yes, and they are brilliant - but there are several where I gave input and those suggestions were implemented and the great Joey, Joey, Joey track would never have existed had I not kept refusing every inferior version they sent. I remember getting their take on Where Have All the Flowers Gone - a song I've never loved - and thinking it was very ordinary with no real point of view. When I had a discussion with them about it, they told me why they were doing it, and I suggested strongly that it have a musical point and a build, that it actually say something about what they were going for in an interior fashion. Armed with that, Alex changed it and it was fantastic. I had a similar thing with Meadowlark, about the opening, where I asked Alex to create a "Once upon a time" orchestral intro - again, this he did brilliantly. But elmore did the work and those albums are as special because of him as they are because of the superb Liz and Alex duo - and if you listen to the SOUND of them, then my input is very much felt in that aspect, as well as getting the best out of everyone, which is really my job. I constantly went in and asked for tiny adjustments during the actual sessions for the first album.
The bottom line is, those albums were high art and were a team effort.
