Archive for the ‘Herb Alpert’ Category

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.

Yesterday, WXPN featured a day-long “Throwback Thursday” devoted to 1968. Although I didn’t listen all day, what I heard was an interesting mix of the expected and unexpected, with Otis Redding’s “Hard to Handle” followed by the raw rock of Big Brother & the Holding Company, the soft psychedelic lather of Jefferson Airplane, and a five-track tour of some of Simon & Garfunkel’s classic tunes, as well as songs by the Temptations, Laura Nyro, Van Morrison and the Delfonics.

Today, their “Throwback Thursday” inspires my “Flashback Friday,” which looks back 50 years to Saturday June 8, 1968. The biggest story in the news: Robert F. Kennedy’s funeral.

But that wasn’t the only news of the day: James Earl Ray, the prime suspect in the assassination of Martin Luther King Jr. two months earlier, was arrested at London’s Heathrow Airport.

Among the movies one could expect to see in the theaters this weekend: Planet of the Apes; Where Angels Go, Trouble Follows; Yours, Mine and Ours; The Odd Couple; Prudence and the Pill; The Detective; and Wild in the Streets. Due for release in just four days: Rosemary’s Baby. As I’ve mentioned before, however, in those days “wide” releases weren’t the way of the movie world. Films opened in select markets at select theaters, with new markets and theaters added each week and month.  

In the land of TV, the 1967-68 season was over. The Andy Griffith Show concluded its eight-year run atop the Neilsen charts at No. 1, and The Lucy Show ended its six years on the air at No. 2. Gomer Pyle, USMC was the third-ranked show; and three shows tied at No. 4: Gunsmoke, Family Affair and Bonanza. (I actually remember seeing an episode of Family Affair when my family visited Beirut in the early 1970s, but that’s grist for another post.) Variety shows were also in vogue: The Red Skelton Show, Dean Martin Show, and Jackie Gleason Show were No.s 7, 8 and 9; and NBC’s Saturday Night at the Movies, which featured both made-for-TV and theatrical films, rounded out the top 10.

In my world: I was 2 years old, soon to be 3, and our family lived in a row home in northeast Philly. Not that I remember much beyond our pet cat, Missy, and the backyard – none of our immediate neighbors had installed fences, so it was a huge expanse to little me. And most of those neighbors also had young children. Everyone knew everyone, and everyone had fun.

And, with that, here’s today’s Top 5: June 8th, 1968 (via Weekly Top 40).

1) Simon & Garfunkel – “Mrs. Robinson.” Enjoying its second (of three) weeks atop the pop charts is this memorable song featured in The Graduate, one of the era’s defining films. 

2) Archie Bell & the Drells – “Tighten Up.” Clocking in at No. 2 is this funk classic, which was perched atop the charts just a few weeks earlier. An interesting sidenote to this song: Bell was drafted shortly before recording it, and by the time it reached No. 1 he was in Germany, where he was assigned to the 53rd Transportation Unit – and in the hospital due to an accident. (He talks about it in an insightful interview with the Rebeat blog.)

3) Herb Alpert – “This Guy’s in Love With You.” Here’s an interesting piece of trivia about this classic song: It may never have been recorded if not for Albert asking Burt Bacharach (who wrote it with lyricist Hal David) if he had any old songs lying around. It’s since been sung hundreds of times by a who’s who of singers far more gifted than Alpert, often with “girl” substituted for “girl,” including Dusty Springfield, Dionne Warwick and Rumer.

4) Hugo Montenegro, His Orchestra and Chorus – “The Good, the Bad and the Ugly.” The title song of the movie of the same name hit its peak the week before, when it claimed the second slot. Here, it drops two spots to No. 4.

5) Tommy James & the Shondells – “Mony Mony.” So James had the music, but not the lyrics. While in New York, he and one of the song’s co-writers, Ritchie Cordell (who’d go onto produce Joan Jett and the Ramones, among others), were about to throw in the towel when, from the terrace of his Manhattan apartment, he saw the Mutual of New York building, which was illuminated with its initials. And, thus, a smash hit was born… 

And a few bonuses…

6) Merrillee Rush and the Turnabouts – “Angel of the Morning.” Jumping from No. 30 to 14 is this single, which was produced by Chip Moman and Tommy Cogbill at Moman’s American Studio in Memphis; and though Rush’s band received billing on the 45, the actual musicians were Moman’s usual crew. The song itself was written by Chip Taylor, and was first offered to Connie Francis – but she turned it down due to its “risqué” theme. (It’s about the morning after a one-night stand.) It was recorded by Evie Sands and a few other artists, but Merrillee’s was the first to chart. It garnered her a Grammy nomination for best Contemporary Pop Female Vocalist. 

7) The Rolling Stones – “Jumpin’ Jack Flash.” After their ill-advised dalliance with psychedelia on Their Satanic Majesties Request, the Stones get back to the basics with this classic single, which would top out at No. 3 in July. It debuts on the charts this week at No. 62.

And, last, here’s a clip of Paul Simon discussing “Mrs. Robinson” and The Graduate with Dick Cavett in early 1970:

The fall of 1979 can best be summed up in one word: “eh.” Disco ruled the charts, but a New Wave was breaking. I was a newly minted ninth-grader and having a blast – primarily in cartooning, a fun elective where we made silly Super 8 movies – but also in most everything else. I got good grades, had good friends, and had good times.

In the wider world, however, things weren’t quite as upbeat. Unemployment averaged 5.8 percent, the lowest it had been since 1974, but as the year wore on that number inched higher. The bigger concern: inflation, which rose from 9.3 percent in January to 13.3 percent in December.

As recounted in “The Great Inflation,” a Federal Reserve historical overview, the reasons for the spiraling inflation were plenty, including the Fed’s own policies, President Nixon’s decision to opt out of the Bretton Woods system (aka the gold standard), and the oil shocks of 1973 and 1978-79. This March 1979 news report from WEWS in Cleveland does a great job of explaining the ripple effect that OPEC’s recent decision to raise the price of oil would have:

Now, factor in oil-related events beyond OPEC – like the Iranian revolution, which decreased overall oil production by about seven percent, and old-fashioned hoarding, which was also in play, and the result was scenes like the ones captured by the MacNeil-Lehrer Report in June 1979:

Beyond the economy, this year in American history is notable for the Three Mile Island nuclear power plant accident that March; President Carter being attacked by a “killer” rabbit in April; McDonald’s introducing the Happy Meal in June; Steve Dahl’s “Disco Demolition Night” at Chicago’s Comiskey Park that July; Michael Jackson releasing Off the Wall in August; and, on Sept. 23rd, an anti-nuclear protest in New York City drawing an estimated 200,000 people.

Of course, as a 14-year-old boy in suburban Philly this September day, a fine Saturday with highs in the mid-70s, I was at once aware and unaware of much of that. My family watched ABC’s World News Tonight most nights, and read the newspapers – granted, in my case, that meant scanning the headlines before diving into the Sports and Entertainment sections, but I knew what was what. Kind of.

I likely spent part of the day playing ball in the street with friends, or at the park doing the same. A radio may or may not have been blaring, and if one was that meant WIFI-92, the Top 40 station I wrote about in this remembrance of Donna Summer, was providing the soundtrack to the fun.

Movies in the theaters that month included Amityville Horror, More American Graffiti and Monty Python’s Life of Brian; and, over the next few months, included 10, The Rose, 1941 and The Jerk. Of those, I only saw More American Graffiti and 1941 in the theaters, though I read the Amityville Horror book. But here’s one memory tied to one of the films I didn’t see, 10: Not long after its release, a girl came to school with her hair braided in cornrows exactly like Bo Derek’s. Now, cornrow braids work for some folks – Alicia Keys springs to mind. Others? Not so much – and this girl definitely fell into that camp. Everyone looked. Everyone laughed (though hopefully not to her face). And she arrived at school the next day with her locks returned to their natural curls.

And, with that, here’s today’s Top 10: September 29, 1979 (via Weekly Top 40)…

1) The Knack – “My Sharona.” The debut single from the new-wave Knack knocked just about everyone for a loop – most of all, I’m sure, the band itself – when it landed atop the Billboard charts for six weeks in a row, with this week being its last; and it went on to be the the year’s best-selling 45. It’s an undeniably catchy tune, and one that won over many young music fans such as myself – small surprise since the Knack’s Doug Fieger later said it was written from a 14-year-old boy’s POV. But Capitol’s accompanying promotional campaign, which conjured the Beatles, ultimately caused a mean-spirited backlash (“Knuke the Knack,” anyone?) that soon doomed the band to joke status. Which is a shame because, as I said, this song is a delight – and the followup single, “Good Girls Don’t,” was pretty darn good, too. Here they are on Top of the Pops promoting it…

2) Robert John – “Sad Eyes.” The No. 2 song, which would inch up a notch to rule the Billboard charts the following week, is this easy-listening favorite.

3) Herb Alpert – “Rise.” No. 3 this week is this light disco instrumental from legendary trumpeter Herb Albert. It would take the top spot in four weeks’ time.

4) Michael Jackson – “Don’t Stop ’Til You Get Enough.” What needs to be said about this, this week’s No. 4 single? That it’s disco? Yes? That it’s undeniably catchy? To quote my wife, “it’s a great song.”

5) Earth, Wind & Fire – “After the Love Is Gone.” Rounding out the Top 5 is this EW&F classic, the group’s sixth Top 10 hit in six years.

Also making their chart debuts this week…

6) Blondie – “Dreaming.” Clocking in at No. 79 is this, my all-time favorite Blondie song. I could play it on a loop – and, in fact, I’ve done just that. Here’s a factoid about it that I never knew: According to Blondie’s Chris Stein, the song’s a direct cop of Abba’s “Dancing Queen” (though I and American Songwriter don’t hear it).

7) The Records – “Starry Eyes.” And at No. 89 is this under-appreciated classic from the Records, a British power-pop band. It hails from their debut album, which was named Shades in Bed in the U.K. but morphed into a self-titled delight in the U.S., where the album also featured a much cooler cover. That’s the reason I bought it, actually.