JUDD HAMILTON BACKGROUND AND
BIOGRAPHY
Insight into the Hamilton/Munro record collaborations of the
70s begins properly with an appreciation of Judd Hamilton's
background as an accomplished musician/songwriter who
had a brief solo recording career that started in June 1963
with the Doulton Records hit, "Dream" (b/w "Your One And
Only Boy"). That same year, Judd and his brother, Dan
Hamilton, wrote "Diamond Head" at the behest of The
Ventures producer Joe Sareceno. This instrumental hit scored
the kind of international success for Sareceno's band that
well and truly earned the group the right to say it was "big in
Japan": "Diamond Head" was the first rock single in
Japanese history to sell over a million copies. Not long
thereafter, Sareceno helped the Hamilton brothers to start
their own studio instrumental band in Los Angeles, The T-
Bones, which enjoyed phenomenal sales and chart success in
1966 with their album No Matter What Shape on Liberty
Records. It wasn't until 1967, however, that the T-Bones
started writing and performing lyrical work and began touring with other headline music acts of the 1960s like The
Beach Boys and David Gates (founder of the band, Bread).
As a high caliber instrumental band based in Los Angeles, it's no wonder that Hamilton and The T-Bones inevitably
forged ties with the Hollywood studios and advertising agencies looking for competently written jingles and themes.
Judd, however, was a bit of a dilettante, and in 1970, after two moderately successful solo singles ("Rules" and
"Sunshine Man," on the American International record label), he began to cultivate his talents in scriptwriting and
acting. Richard Quine selected Judd for a small part in the comedy-western he was directing for Paramount, A
Talent For Loving (also known as Gun Crazy, but which should not be mistaken for the "Bonnie and Clyde" spoof of
the same title). The film headlined actors Richard Widmark, Cesar Romero and Topol, but for Judd the real star
was another relative newcomer to the screen, Caroline Munro, who played Ms. Patten. While on their film shoot in
Madrid, Judd and Caroline fell in love and eventually married each another in Las Vegas less than two years later.
Caroline's star at this time was still in ascendancy, and the
couple returned to London, where Munro continued her
modeling career and starred in a run of cult classic Hammer
horrors. During this time, Judd augmented his solo recording
career with touring and frequent visits back to L.A. to assist his
brother, who by this point had reunited his band and changed its
name to one that brought more focus to the vocal personalities
of the group: Hamilton, Joe Frank and Reynolds. As many will
recall, Hamilton, Joe Frank & Reynolds scored an international
hit in 1971 with "Don't Pull Your Love Out" (with Dan Hamilton
on lead vocals) and in 1975 with "Fallin' In Love," which Dan
wrote and which also went to No. 1 in the U.S. (Regrettably,
Dan Hamilton passed away in 1994 after a long-term battle with
Cushing's Disease.) Very soon, however, Judd would be pulled
back into the acting world and, once again, beside the actress
whom he married on his first film stint. Today, his solo
recordings can still be enjoyed among the many Pop-Corn and
Doo-Wop anthology CDs issued on German and Swedish record
labels.
JUDD HAMILTON DISCOGRAPHY
Solo 7" Singles
Dream b/w Your One And Only Boy (Dolton Records) DOLTON 80 June 1963
Rules b/w Someday Morning (American International Records) AIR 151 Sept. 1970
Sunshine Man b/w Baltimore (American International Records) AIR 163 Dec. 1970
Mixed Up Guy / Whatever Happened To July (Demo) STSUP35247 UK 1971
Rose By Any Other Name / Don't Be Afraid Of the World (Demo) STSUP35311 UK 1971
Long Road / C'est La Vie (Demo) STSUP35367 UK 1972
Bonne Chance / Chante Jacques Monte Philips PH 6009363 FR 1972[?]
Anthologized Doo-Wop
Initial In a Tree (track #3, Heaven Hideaway Vol. 1, Rare Rockin' Records RRR1001, 2001; orig. Regency Records
111, 1964 )
Initial In a Tree (track #5, Tip Top Teeny, Vol. 6, Centhy Records CENTHY CD2008, 2001; orig. Regency Records
111, 1964 )
Little Lost Angel (track #25, Teen-Age Dreams, Vol. 12, Teenie Weenie Records FR1017, 2001, GER)
Little Lost Angel (track #23, Top Teen Time, Vol. 3, Caravan Records CAR 200203, 2002, GER)
Dream (track #7, The Drugstore's Rockin', Vol. 3, Bear Family Records BCD16608, 2002, GER)
Albums (as The T-Bones)
No Matter What Shape (Your Stomach Is In), Lp, Liberty Records, LRP-3439/LST-7439, 1966
Collaborations w/ Caroline Munro (as Judd & Miss Munro)
You Got It b/w Where Does Love Begin Aquarius AQ3 1976
Love Songs b/w Sound Of the Sun RCA Victor PB 5021 Demo 1977
YOU GOT IT
b/w
WHERE DOES LOVE
BEGIN
Judd & Miss Munro
Aquarius AQ3 7" 45 R.P.M.
1976
Given the chemistry that sublimated between Judd and Caroline on camera, and the musical heritage that each of
them pursued off camera, it wouldn't take long before they were to be struck by the notion of a recording
collaboration. And the "husband and wife" duet was trending in at this time. Case in point: in early 1970, after
returning from filming Quine's picture, Judd worked a solo supper club act in Los Angeles (until marrying Caroline
and returning to London with her); Daryl Dragon was his keyboardist extraordinaire for the act. Soon afterward
Dragon would team up with his own wife, Toni, and under the moniker of Captain and Tennille would transform
their act into one of the most successful Grammy-winning pop duos in music history.
The 1976 release of the "You Got It" single on the Aquarius label was Judd and Caroline's first attempt to break into
that genre of "husband and wife" duets. The artists billed themselves as "Judd & Miss Munro"--five syllables that,
admittedly, roll off the tongue as appealingly as "Captain and Tennille"; furthermore, it showcased not only
Hamilton's skill for producing but also Caroline's hidden talent for songwriting. Side B's "Where Does Love Begin" is
Munro's first original recording as a songwriter and singer.
But the "You Got It" single does more than record these benchmarks in the couple's career, for it exudes a
charming, inexorable limmerance--explicit in the choice of material and the dynamics of the duet, yes, but also
subtly implicit in the overall production of the single. One feels that Judd's demoted role in, both, the songwriting
credits and the name of the act was the secretly self-effacing strategy of a man who wanted to see his wife shine as
a stand-alone talent. At the same time, no one doubts for an instant that Caroline is singing, not to a studio
microphone, but to her beloved, and with all the sincerity of emotion and lyrical expression it entails. This, in my
opinion, gives the Hamilton/Munro collaboration that wholly uncontrived and harmonious credibility that leaves
other pop duets exposed for their contrivance or cloying preciousness. As Judd and Caroline's first single, "You Got
It" and "Where Does Love Begin" are, in a sense, an exchange of vows.
The songwriting attribution of side A's "You Got It" (click title to hear a sample) is a tad mysterious, but I'm
speculating it was composed by John Langford (of The Mekons/Waco Brothers) and Steve Lang (April Wine), both of
whom were Aquarius Records A-list artists at one time. In 1981, Langford and his group would actually release their
own single of "This Sporting Life," which was recorded by Caroline Munro in 1967 as the b-side to the scarce "Tar
and Cement" demo that started her singing career.
The 1976 release of the "You Got It" single on the Aquarius label was Judd and Caroline's first attempt to break into
that genre of "husband and wife" duets. The artists billed themselves as "Judd & Miss Munro"--five syllables that,
admittedly, roll off the tongue as appealingly as "Captain and Tennille"; furthermore, it showcased not only
Hamilton's skill for producing but also Caroline's hidden talent for songwriting. Side B's "Where Does Love Begin" is
Munro's first original recording as a songwriter and singer.
But the "You Got It" single does more than record these benchmarks in the couple's career, for it exudes a
charming, inexorable limmerance--explicit in the choice of material and the dynamics of the duet, yes, but also
subtly implicit in the overall production of the single. One feels that Judd's demoted role in, both, the songwriting
credits and the name of the act was the secretly self-effacing strategy of a man who wanted to see his wife shine as
a stand-alone talent. At the same time, no one doubts for an instant that Caroline is singing, not to a studio
microphone, but to her beloved, and with all the sincerity of emotion and lyrical expression it entails. This, in my
opinion, gives the Hamilton/Munro collaboration that wholly uncontrived and harmonious credibility that leaves
other pop duets exposed for their contrivance or cloying preciousness. As Judd and Caroline's first single, "You Got
It" and "Where Does Love Begin" are, in a sense, an exchange of vows.
The songwriting attribution of side A's "You Got It" (click the icon at left to hear a sample) is a tad mysterious, but
I'm speculating it was composed by John Langford (of The Mekons/Waco Brothers) and Steve Lang (April Wine),
both of whom were Aquarius Records A-list artists at one time. In 1981, Langford and his group would actually
release their own single of "This Sporting Life," which was recorded by Caroline Munro in 1967 as the b-side to the
scarce "Tar and Cement" demo that started her singing career.
"You Got It" is not connected in any way with the Roy Orbison hit from his posthumously released 1989 Mystery Girl
album. In fact, the most apt comparison for the Lang and Langford tune is Randy Newman, whose springy fusion of
folk and cabaret positively define every measure of the Aquarius Records recording. In consequence, Judd and Miss
Munro's "You Got It" sports an unmitigated mirth that would baffle today's music listeners: it is relatively vacant of
cynicism and it does not seem to connect the listener to any subculture or millieu on which the industry hangs a
niche-marketing identity. Instead, the song "keeps it real" by serving up love and happiness as reason enough to
cut a record. Because of this, it might be difficult for Numanoids and arbiters of New Wave to appreciate
something this . . . well, square. Like it or hate it, though, "You Got It" still has integrity, for it is sung with the
authority of two people who are actually in love with each other and therefore closer to the source of the song's
inspiration. In short, "You Got It" was recorded and made into a single because the artists liked it and identified
with the song; it spoke to them, and they rather capably made the lyrics and the melody their own.
Caroline's contribution, "Where Does Love Begin" (click title to hear a sample), is a bright and apt choice for the
single's B-side. While its emotional compass points true and her performance alongside Judd is heartfelt, the lyrics
sometimes flatten with sentimentality, even cliché. Pop music has no shortage of clichés, so a few shmultzy lines
are hardly a mortal sin. (Just add up the number of times in any Top 40 play list, for example, that artists talk
about their hearts!) In these less creative moments, she resorts to invoking "a child of memory" and using
abstractions such as "like a dream come true" to visualize the abstract feeling of love. As a professor of writing, all I
can say is that such similes point to a songwriter who has stopped writing a lovesong and instead is writing a song
about herself writing a lovesong. For all these carpings, "Where Does Love Begin" still holds its own. As Caroline
Munro's first recorded work of original songwriting, it's enjoyable and eminently bankable as a b-side track. The
vocals are good, and Caroline's steady, comely voice makes a fantastic counterpoint to Judd's sometimes world-
weary and bluesy inflection. 'Nough said.
LOVE SONGS
b/w
SOUND OF THE SUN
Judd Hamilton and Caroline Munro
RCA Victor PB 5021 DEMO 7" 45 R.P.M.
1977
This 1977 demo was never officially released by RCA Victor. Hamilton arranged and produced both tracks, co-
writing the main track with his wife and the b-side with songwriter David Jones. As the "You Got It" single will
attest, Hamilton cannot be accused of indulging in some vanity duet. The songs are complex, well conceived for
their commercial appeal, and unyieldingly precise in their vocal harmonies.
Judd and Caroline had high hopes that the "Love Songs" medley would have a singles release by the end of 1977.
(Click title to hear a song sample.) However, an unexpected change of management at RCA U.K. caused Judd as
producer of the record to lose confidence in the song's chances for a proper promotion. Hamilton explains, "the
then head of RCA/Great Britain, Gerry Ord, who was the person responsible for signing us to RCA, decided to step
down as the Managing Director exactly at the same time the record was being prepared for release. I'm afraid this
news rather panicked me as the record's producer. I knew Gerry believed in our chances and would have pulled out
all the stops, but I didn't know any of the new regime, so I asked him to release us from our contract before he
left." Nevertheless, the demo mysteriously received minor radio rotation in Ireland before disappearing into the
ether altogether. This is pitiable because, not only is Hamilton's songwriting elegantly tailored to Munro's vocal skills
and style, the songs themselves had true potential to chart successfully. Munro sings harmony to Judd's melody, but
neither outstrips or outshines the other's vocals. In an era of pop music poised to strike out in opposite directions--
one toward the nadir of disco whimsy and soul, the other toward the zenith of punk influence--the "Love Songs"
single is an interesting time capsule of that hesitation before the break.
Side A is more correctly categorized as a medley, the overture of which, "Love Songs," is Judd and Caroline's own
composition; the ballads included in the medley come from a diverse cross-section of twentieth century American
songwriters: "Come Softly To Me" (Gretchen Christopher, Barbara Ellis, Gary Troxel); "I Love How You Love
Me" (Barry Mann and Larry Kolber); and "In the Still Of the Night" (Cole Porter). The production, however,
resonates with the sixties doo-wop on which Hamilton cut his songwriting teeth touring with The Beach Boys; traces
of Daryl Dragon can also be discerned. The result of the Hamilton-Munro collaboration, in any event, is as credible
as anything Barry Manilow might have written, while the subject matter of the lyrics bears out the songwriter's
intention to graft that nostalgia to a modern 70s pop sensibility: "Play the songs that made us want to fall in love, /
the melodies and memories we're thinking of. / Remember when a touch was such a magic thrill. / Take our breath
away; you know, you always will." The contrived doo-wop is a bit overwhelming at times but Judd compensates by
keeping the disco squidgets to a minimum. If it weren't for the limitations of 70s audio production, one could very
easily mistake "Love Songs" as a more contemporary composition written intentionally to evoke the keystone sounds
of the 50s, 60s, and 70s.
Judd and Caroline had high hopes that the "Love Songs" medley would have a singles release by the end of 1977.
(Click the title to hear a song sample.) However, an unexpected change of management at RCA U.K. caused Judd
as producer of the record to lose confidence in the song's chances for a proper promotion. Hamilton explains, "the
then head of RCA/Great Britain, Gerry Ord, who was the person responsible for signing us to RCA, decided to step
down as the Managing Director exactly at the same time the record was being prepared for release. I'm afraid this
news rather panicked me as the record's producer. I knew Gerry believed in our chances and would have pulled out
all the stops, but I didn't know any of the new regime, so I asked him to release us from our contract before he
left." Nevertheless, the demo mysteriously received minor radio rotation in Ireland before disappearing into the
ether altogether. This is pitiable because, not only is Hamilton's songwriting elegantly tailored to Munro's vocal skills
and style, the songs themselves had true potential to chart successfully. Munro sings harmony to Judd's melody, but
neither outstrips or outshines the other's vocals. In an era of pop music poised to strike out in opposite directions--
one toward the nadir of disco whimsy and soul, the other toward the zenith of punk influence--the "Love Songs"
single is an interesting time capsule of that hesitation before the break.
Side A is more correctly categorized as a medley, the overture of which, "Love Songs," is Judd and Caroline's own
composition; the ballads included in the medley come from a diverse cross-section of twentieth century American
songwriters: "Come Softly To Me" (Gretchen Christopher, Barbara Ellis, Gary Troxel); "I Love How You Love
Me" (Barry Mann and Larry Kolber); and "In the Still Of the Night" (Cole Porter). The production, however,
resonates with the sixties doo-wop on which Hamilton cut his songwriting teeth touring with The Beach Boys; traces
of Daryl Dragon can also be discerned. The result of the Hamilton-Munro collaboration, in any event, is as credible
as anything Barry Manilow might have written, while the subject matter of the lyrics bears out the songwriter's
intention to graft that nostalgia to a modern 70s pop sensibility: "Play the songs that made us want to fall in love, /
the melodies and memories we're thinking of. / Remember when a touch was such a magic thrill. / Take our breath
away; you know, you always will." The contrived doo-wop is a bit overwhelming at times but Judd compensates by
keeping the disco squidgets to a minimum. If it weren't for the limitations of 70s audio production, one could very
easily mistake "Love Songs" as a more contemporary composition written intentionally to evoke the keystone sounds
of the 50s, 60s, and 70s.
Its b-side, "Sound Of the Sun" (click title to listen to an audio sample) is quintessentially a 70s song conceived in the
same vane of songwriting as the score to the hit stage musical, Hair--however, not as an expression of the 60s, but
rather as a response to it with hindsight. Rather than anticipating the dawning of an Age of Aquarius to enlighten a
closed-minded society in a senseless war, co-writer David Jones's lyrics seem to have been written in the late
morning of Aquarius but with cautionary undertones that anticipate the repeating patterns of closed-mindedness
and war: "I had no one to listen to. / I had to learn to know what to do / what it would take to get me through. /
We were schooled in the sound of sin. / We were spooked but we never gave in. / . . . When we hear the sound of
the sun / we'll know where our days have gone." Like its a-side, the rock influences are easily traced (the
ubiquitous Beatles being among them) but nonetheless original in their application. And, once again, Caroline's
vocals are believably soulful and commanding. "Sound Of the Sun" is not nearly as contrived a song as "Love Songs,"
mostly because it takes greater risks in its lyrical content and its rock interpretations. Those same qualities tend to
date it less forgivingly, but I couldn't care less: to date, it remains my favorite from among the four Hamilton-
Munro collaborations.
HAMILTON-MUNRO FILM COLLABORATIONS
While the "Love Songs" project slowly suffocated under the rock of
RCA's bureaucracy, Judd Hamilton was, himself, suffocating in a
costume as Caroline's robot sidekick, Elle (a.k.a. Helle). The dubious
Starcrash may have shamelessly capitalized on the success of Star
Wars, but it was destined to be as much a cult classic as any of
Caroline's horror films, and in the very same year Munro would make
her now infamous appearance as Naomi in the Ian Flemming serial
flick, The Spy Who Loved Me.
In Starcrash, however, the chemistry existing between Judd and
Caroline is positively palpable. What Caroline lacks in costume, Judd
more than makes up for in his Cylon-esque cum Robbie the Robot
biker raiment. (Judd's face, of course, is never actually seen In the
film--the fate of all robots, I'm afraid, who strut and fret their hour
upon the stage.) Even with Hamilton Camp's voice dubbed over Judd
Hamilton's acting, the couple demonstrates a remarkable
protectiveness about one another, a quality that translates into their
duets in the recording studio.
However, after their final musical collaboration as Judd & Miss
Munro, Hamilton explored his talents for campy cinema slaughter as
producer, writer and actor of films like Maniac (1979) and The Last
Horror Film (1981). Unfortunately, Caroline and Judd were parting ways during this time, and divorced in 1982.
Caroline, in the meantime, had begun to turn her interests again toward singing, and it wasn't long before she
found a niche for her all three of her skills--acting, modeling, and singing--in a burgeoning music innovation: the
music video. By 1983, she had appeared as a singer in a horror film (on which her future husband, George Dugdale,
was working), and in two music videos: Adam Ant's "Goody Two-Shoes" and Meatloaf's "If You Really Want To."
Judd Hamilton now lives in Seattle in proximity to his two children, Chip and Tami,
though they are all still obviously quite close to Caroline: Tami runs the
international Caroline Munro Fun Club for her stepmother. Since 1998, Judd has
demonstrated yet another of his eclectic talents in his capacity as President and
C.E.O. of Co-Operations, Inc., a company that researches and develops eco-
friendly inventions. His creative side, however, has not gone untended: he has
written two novels in his spare time, which he hopes to publish soon.
A collection of interesting archival documents and facsimiles concerning Judd
Hamilton's career, including newspaper reviews, is available on his family history
website among his Selected Documents.
CAROLINE MUNRO FILMOGRAPHY / VIDEOGRAPHY
(in chronological order)
For the complete catalogue of Caroline Munro's film and video appearances, including Hamilton and Munro movie
collaborations and an image gallery of posters, movie stills, media artwork and ephemera, visit the Caroline Munro
Filmography section of this website.
Fumo di Londra (1966) (uncredited): extra
G.G. Passion (1966) (uncredited): extra
Casino Royale (1967) (uncredited): Control Room Girl
Joanna (1968) (uncredited): extra
A Talent for Loving (1969): Ms. Patten
Where's Jack? (1969): Madame Vendonne
The Abominable Dr. Phibes (1971) (uncredited): Victoria Phibes
Dr. Phibes Rises Again (1972) (uncredited): Victoria Phibes
Dracula A.D. 1972 (1972): Laura Bellows
Captain Kronos - Vampire Hunter (1974): Carla
The Golden Voyage of Sinbad (1974): Margiana
I Don't Want to Be Born (1975): Mandy Gregory
At the Earth's Core (1976): Princess Dia
The Howerd Confessions: Captain Latour (1 episode, 1976)
The New Avengers: Tammy (1 episode, 1977)
The Spy Who Loved Me (1977): Naomi
Starcrash (1979): Stella Star
Maniac (1980): Anna D'Antoni
3-2-1: Hostess (1984-1987)
Don't Open 'Til Christmas (1984): playing herself
The Making of a Horror Film (1984): playing herself
Slaughter High (1986): Carol Manning
Aullido del diablo, El (1987): Carmen
Cue Gary - film star special (1 episode, 1988)
Faceless (1988): Barbara Hallen
Maigret (1988) (TV): Carolyn Page
Gatto nero, Il (1989): Nora McJudge
This Is Your Life (Peter Cushing): playing herself (1 episode, 1990)
Sweating Bullets: Alicia Simmons (1 episode, 1992)
The Last Horror Film (1982): Jana Bates
Night Owl (1993): playing herself
Flesh and Blood: The Hammer Heritage of Horror (1994) (TV): playing herself
The Vampire Interviews (1994) (V): playing herself
To Die For (1994): Mrs. Pignon
Thriller Zone (1995) (V): Jana Bates (segment Fanatical Extremes)
100 Years of Horror: Blood-Drinking Beings (1996) (V): playing herself
100 Years of Horror: Maniacs (1996) (V): playing herself
100 Years of Horror: Scream Queens (1996) (V): playing herself
100 Years of Horror: The Count and Company (1996) (V): playing herself
100 Years of Horror: The Double Demons (1996) (V): playing herself
Inside 'The Spy Who Loved Me' (2000) (V): playing herself
VH-1 Where Are They Now?: playing herself (1 episode, 2000)
The Joe Spinell Story (2001) (V): playing herself
Blood Craving (2002) (V): playing herself
GMTV: playing herself (1 episode, 2002)
James Bond: A BAFTA Tribute (2002) (TV): playing herself
VH-1 Where Are They Now: Video Vixens (2002) (TV): playing herself
Flesh for the Beast (2003): Carla the Gypsy
Caroline Munro: First Lady of Fantasy (2004) (V): playing herself
The Absence of Light (2004): Abbey Church
Crumpet! A Very British Sex Symbol (2005) (TV): playing herself
Domestic Strangers (2005): Counselor
1994 Flesh and Blood: The Hammer Heritage of Horror (1994) (TV) (special thanks)
The Witch's Dungeon: 40 Years of Chills (2006) (V): playing herself
YOU GOT IT
Written and composed by Steve Lang and Jon Langord
You got it,
All the lovin' inside you.
You got it.
There's no denying you.
So don't you ever think that
It was never fair.
It's always just a memory
Left for you to share.
Yeah, you got it.
So if you're thinking of flying
To the moon and sky
And you've got no way to go,
And if you're winking and deciding
If you're laughing or your crying,
You guess but you just don't know . . .
Chorus:
Oh, baby, just take it, take it,
Take it to your heart.
You gotta make it, make it,
Never fall apart.
You gotta take, take it,
Make it all a part of
You, you, you, ahh . . .
You got it.
Succeeding.
No reason to hide you.
Ooh, the feeling
That it's bringing inside you.
So don't you ever think that
It was never fair.
It's always just a memory
Left for you to share.
Yeah, you got it.
Chorus
Baby, you got it.
[Repeat]
WHERE DOES LOVE BEGIN
Written and composed by Caroline Munro
Where does love begin?
The first day that we saw each other
we knew that we were friends.
Was it when we met
or somewhere long before?
Heard it's everlasting
once you find the door.
Suspended in imagined air,
my life loving you.
Can't help feeling you're
a dream come true.
Where does love begin?
We can't deny this time there's magic.
Truth is when you win.
So in love, my mind
seems to run away
like a child of memory.
We fall in love each day.
Suspended in imagined air,
my life loving you.
Can't help feeling you're
a dream come true.
All my life, loving you . . .
[Spoken]
Judd: You're a dream come true.
Caroline: Where does love begin?
Judd: Well, if we could measure time and space, at least let's both pretend.
Think of all the places we can
Go and fall in love.
Should we choose the Milky Way
Or somewhere on above?
Suspended in imagined air,
My life loving you.
Can help feeling you're
a dream come true.
All my life, loving you . . .
[Spoken]
Judd: You're a dream come true.
Where does love begin?
[Repeat]
LOVE SONGS
Written and composed by J. Hamilton and C. Munro
[Additional lyrics by: Gretchen Christopher, Barbara Ellis, Gary Troxel; Barry Mann and Larry Kolber; and Cole Porter.]
[A-doobie-doo dum-dum
Duh-um-doo dum.
Be-doobie-doo dum-dum
Duh-um-doo dum. . . . ]
Chorus:
Play the songs that made us
want to fall in love:
the melodies and memories
we're thinking of.
Remember when a touch
was such a magin thrill?
Take our breath away.
You know you always will.
Come softly, darling.
Come to me. Stay.
You're my obsession
forever and a day.
In the still
of the night
I held you,
held you so tight.
Play those love songs.
Rock and roll, you know
you got us hangin' on.
You mesmerized us long ago
with your love songs,
so rock and roll; that's
where we belong.
I keep my eyes closed
whenever you kiss me,
and when I'm away from you
I love how your miss me.
I love the way you always treat me,
treat me tenderly.
But, darling, most of all,
But darling, most of all,
I love you, love you so.
Promise you'll never, never go.
Chorus.
Play those love songs.
Come softly, darling.
I love how you love me.
You are the sea.
I love how you love me.
I love you always.
I love how you love me.
Always.
Chorus.
SOUND OF THE SUN
Written and composed by J. Hamilton and D. Jones
I began another's idea.
I was born of a lover's affair.
Sick of my mothers so fair,
I had no brothers and sisters to share.
I began to grow and then grew.
I had nobody to listen to.
I had to learn to know anew,
what it would take to get me through.
We were schooled in the sound of sin.
We were spooked but we never gave in.
Good-bye to things with you.
(Oh yeah) Girl, that I'd ever do it here.
There weren't nothing but dark and trees
Till we slipped and we grazed on the ease.
I did all I could do to please.
And now we sail with the evening breeze.
(Sail with the evening breeze.)
Chorus
When we hear the sound of the sun
we'll know where our days have gone.
When we hear the sound of the sun.
we'll know all our days have gone.
When we hear the sound of the sun.
We got worried about our world,
If we was born at the end of the world.
The flowers in the garden, girl!
If you know the meaning of the world,
of the world, now, now . . .
Now our law will be to learn.
Strap me loosely around the gravel
In your talk there was a feeling of love,
And we release it with the sound,
With the sound of the dove.
When we hear the sound of the sun
We'll know that our wars are won.
When we hear the sound of the sun
We'll know that our wars are won.
When we hear the sound of the sun.
We'll know where our days have gone,
When we hear the sound of the sun.
We'll know that our wars are won.
When we hear the sound of the sun.
Sun, sun.
Sun, sun.
We'll know where our days have gone
We'll know that our wars are won.
Hear the sound of the sun.
Hear . . .
The sound . . .
Of the su-u-u-un.