As we prepare for our move, one of the things we’re doing is shearing the fleece from lives – aka downsizing. As I may have written before, while we’ve always thought of ourselves as collectors, some might call us packrats or hoarders. Regardless, we’re now in the process of moving past such labels. Most of our CDs and LPs have left the building; and, in the days and weeks ahead, most of our books will, too, along with the many silly knick-knacks we’ve picked up through the years – Keith Olbermann bobblehead, I’m looking at you!
One of the (many) other things I’m parting ways with: my HP desktop computer, which I’m giving to a friend. (I can count on one hand the number of times I’ve booted up it since buying a MacBook Pro in 2014.) So I spent a chunk of Saturday transferring files – mostly photos – to an external hard drive. Those were the nascent days of the iCloud (for us, at least), so I hadn’t seen most in years – and, surprising no one who knows me off-line, most are of my cat. Many of the others are from concerts, the quality of which denigrate the further away from the stage we were.
There are plenty of concert videos, too, though the best clips found their way to my YouTube channel. Also in the mix: a few webcasts, which I recorded by pointing the iPod Touch at my computer monitor.
Anyway, this gem – the first of in a “From the Archives” series – dates to August 10, 2013, when Juliana Hatfield streamed a webcast for folks who pledged on her third PledgeMusic album, Wild Animals.
As I mentioned in Friday’s countdown, “This Guy’s in Love With You” may well have been lost to time if not for Herb Alpert reaching out to Burt Bacharach and asking if he had any old tunes lying around that had never been recorded. Bacharach offered him “This Guy.” Alpert liked the melody, that there was a break where he could insert a trumpet solo, and that it didn’t require vocal gymnastics on his part. He was a horn player, after all, not a singer.
That clip comes from Alpert’s TV special The Beat of the Brass, which aired on CBS on April 22, 1968. The 45 was released the same month, and flew up the charts, eventually spending four weeks at No. 1 and becoming the year’s seventh most popular single.
The song’s soothing, sweet melody can’t be denied; it lingers with you long after the song is over. Lyrically speaking, it’s the declaration of a head-over-heels guy (or gal) laying it on the line to his dream gal (or guy). It works equally well no matter the gender of the singer, or who they’re singing to. Love is love, after all.
Anyway, it quickly became one of those songs every vocalist of note wanted to sing, and I thought it might be fun to spotlight some of those other versions here. Dusty Springfield, for example, recorded it for her Dusty…Definitely LP, released on November 22, 1968 – not that folks in the U.S. heard it (except via import). Dusty was on different record labels in the U.S. and the U.K., and Atlantic – her American home – decided not to release the album. It wouldn’t become available in the States until 1972, when it was included on the A Tribute to Burt Bacharach compilation LP. (It’s since been included on a handful of best-of/rarities collections, including Dusty in London.)
Here’s the audio of her singing it on the All Kinds of Music TV special, which was broadcast in the UK on Christmas Day 1968:
That same November, the Temptations and the Supremes released their own version on Diana Ross & the Supremes Join the Temptations LP.
Before both of them, however, Petula Clark included her rendition of it on her 1968 Petula LP, which was released in the U.S. in September 1968.
Dionne Warwick, a frequent collaborator with Burt Bacharach and Hal David, also recorded it for her Promises, Promises album, which was also released in November 1968. It would become one of her greatest hits when it was released as a single the following year; it rose to No. 7 in the charts.
Also in 1969, Ella Fitzgerald covered it on her Sunshine of Your Love album. Here she is on TV performing it…
Sammy Davis Jr. also laid down a jazzy rendition of it on The Goin’s Great the same year. Here he is in Germany:
In early 1970, Aretha Franklin released her This Girl’s in Love With You album, though the song wasn’t issued as a single.
That same year, Smokey Robinson & the Miracles covered it on their whatlovehas… concept album.
Hundreds of others have covered it in the years since (and thousands more in karaoke bars). In 1982, the Reels – an Aussie pop-rock band – scored a No. 7 hit with it Down Under:
In 2009, jazz-pop singer Jane Moneheit included her dreamy take on the song on her The Lovers, the Dreamers and Me album:
Here’s She & Him (Zooey “One Day You’ll Be Cool” Deschanel & M. Ward) from their 2014 album Classics:
Finally, British singer-songwriter Rumer released her rendition of it on This Girl’s in Love: A Bacharach & David Songbook in late 2016. (That’s Burt Bacharach himself at the song’s start.) It and Dusty’s are my favorite versions, though every rendition has something going for it.
My first memory of Glen Campbell is of sometime during the summer of 1975, not long after my family returned to the States after near-five years overseas. We stayed with my grandparents for a week or two, camping out in their living room, and enjoyed their big color TV – well, it was probably all of 21 inches, but it seemed big to little ol’ me, who was a few weeks shy of turning 10 and accustomed to a 10- or 12-inch black-and-white TV.
Or did it occur during a summertime visit in 1976, when my brother and I sometimes stayed the night? Either/or, I was a pre-music fanatic, far more a pro wrestling fan than anything else. And yet I distinctly remember being transfixed as the virtual optimism that is “Rhinestone Cowboy” rolled from the TV and filled the room.
Years later, of course, I discovered his other classic singles, including “Gentle on My Mind,” “By the Time I Get to Phoenix,” “Wichita Lineman” and “Galveston,” and learned about his stint in the now-legendary Wrecking Crew.
The first thing I think of when I hear him, however, is that performance of “Rhinestone Cowboy,” which – sad to say – I’ve never been able to track down.
The second thing I think of: In late 2000, I interviewed him for a TV GUIDE Close-Up on a Ralph Emery-hosted Country Homecoming TNN special. The show consisted of him and a half dozen (or so) other country greats singing and reminiscing with Emery. Like just about every celeb I interviewed during those years, he was nothing but kind – and funny. I mentioned that one thing I liked about the special was the stripped-down performances of the songs. He agreed, his wide smile beaming through the phone line. “Oh, I like it raw,” he said. And with that, he launched into an impromptu (albeit chorus-only) renditions of Bob Dylan’s “Lay, Lady, Lay” and two or three other songs.
There are far more important concerns than NPR’s 150 Greatest Albums Made by Women list. This, we know. Yet, while breezing through it Monday afternoon, I couldn’t help but to (silently) scream.
First and foremost: Albums from last year are on it. Seriously?! Maybe it’s me, but placing any recently released album on a “best of all time” list is short-sighted; we don’t know whether it will, as most great albums do, grow stronger through the years or fall from favor. The former is (obviously) the case for Joni Mitchell’s Blue (from 1971), the top pick, and Aretha Franklin’s I Never Loved a Man the Way I Love You (from 1967), No. 4 (which really should have been No. 2). They speak universal truths of the human condition that are applicable to every generation and age; i.e., they both reflect and transcend their time.
That’s one reason why my Essentials series has a strict “at least five years old” policy. “Classic” status only kicks in if you continually return to an album – and not just for nostalgia’s sake – time and again through the years.
Another reason for my (silent) scream: The exclusion of many great and influential albums at the expense of…Britney Spears?! The Spice Girls?! Isn’t that a bit like including David Cassidy and the Osmond Brothers on an all-male list? I also have serious doubts about any list that ranks Hole higher than Joan Jett or Chrissie Hynde. They kicked down the door for Courtney Love (and all other women rockers who followed them, for that matter). I agree that the debuts of Tracy Chapman and the Indigo Girls should be included, but 10,000 Maniacs’ In My Tribe and Suzanne Vega’s Solitude Standing set the stage for them. And Vega’s 99.9° deserves mention, too, as does Madonna’s True Blue.
But, of course, that’s part and parcel with these sorts of lists. I’ve never seen one that I agree with – from Rolling Stone‘s to Entertainment Weekly‘s to Mojo‘s. They’re generally the creation of a small band of voters who share the same basic dispositions. I.e., they’re good for starting arguments, little else.
And, with that, here’s today’s Top 5: Albums MIA From NPR’s “Made by Women” List. (Where they fall is anyone’s guess… so I’m placing them in chronological order.) And, yes – I could well have called this Top 5 “My Regulars.” I’ve featured all of them many times.
1) Lone Justice – Lone Justice (1985). Selected song: “Sweet, Sweet Baby (I’m Falling).” I’ve written about this album, and spotlighted this song, many times before, of course, including in my first Essentials entry. It’s a genre-shattering, epoch-changing album that set the stage for the alt.country boom a decade later.
2) 10,000 Maniacs – In My Tribe (1987). Selected song: “Hey Jack Kerouac.” A folk-rock band from upstate New York, the Maniacs were (and remain) a wondrous group of eccentrics with a serious knack for crafting cool and catchy tunes. Who else could have come up with this swinging ode to Jack Kerouac, Allen Ginsberg and the beats? Their success paved the way for other late-‘80s (and beyond) folk-flavored singers and bands, from Tracy Chapman to the Indigo Girls to Innocence Mission.
3) Blake Babies – Sunburn (1990). Selected song: “Sanctify.” You want punk? You want spunk? You want an album that, whether anyone heard it or not, helped kick off the ‘90s wave of women-led rock bands? That could be said to be a true alt.college-rock album? That sounds like it was recorded yesterday? Then pick up this classic from Juliana Hatfield & Co. (And be sure to get Earwig, too). This song brings a “heavy metal rain” upon one’s head…
4) Juliana Hatfield – in exile deo (2004). Selected song: “Tourist.” On her own, Juliana has released a slew of stupendous albums, from Hey Babe (1992) to Pussycat (2017) – but I’m limiting myself to this one (and the Blake Babies) because, well, it’s great – her second to win my esteemed Album of the Year, in fact. Just as a side note: I clearly remember when and where I first heard it – on the day of its release in my Dodge Neon while on my way to pick up my wife.
5) Rumer – Seasons of My Soul (2010). Selected song: “On My Way Home.” I’ve written (too many times) about this album before, most recently in my Essentials series. At once retro and modern, it went platinum twice-over in the U.K. and topped the iTunes charts in the States; and it’s influenced other singers in the U.K. to follow the same stylistic path.
And two (non-chronological) bonuses:
6) Rosanne Cash – Interiors (1990). Selected song: “What We Really Want.” Rosanne Cash shed the country label with this, her seventh album, which owes a heavy debt to Joni Mitchell and the other confessional singer-songwriters of the early ‘70s. It’s stark and powerful, and a glimpse of the internal demons haunting her at the time.
7) Nanci Griffith – Other Voices, Other Rooms (1993). Selected song: “Speed at the Sound of Loneliness.” In the early 1990s, after a string of successful albums, Nanci celebrated her influences on the sublime Other Voices album; and won the Grammy for Best Contemporary Folk Album as a result.
