Blue-eyed soul is rhythm and blues and soul music performed by white artists. The term was coined in the mid-1960s, to describe white artists who performed soul and R&B, similar to the music of the Motown and Stax record labels. Though many rhythm and blues radio stations in the United States in that period would play music only by black musicians, some began to play music by white acts considered to have "soul feeling" and their music was described as "blue-eyed soul". Georgie Woods, a Philadelphia radio DJ, is thought to have coined the term "blue-eyed soul" in 1964 to describe The Righteous Brothers white artists in general who received airplay on rhythm and blues radio stations; the Righteous Brothers in turn named their 1964 LP Some Blue-Eyed Soul. According to Bill Medley of the Righteous Brothers, R&B radio stations who played their songs were surprised to find them to be white when they turned up for interviews, one DJ in Philadelphia started saying "Here's my blue-eyed soul brothers", it became a code to signal to the audience that they were white singers.
The popularity of The Righteous Brothers who had a hit with "You've Lost That Lovin' Feelin'" is thought to have started the trend of R&B radio stations to play songs by white artists in the mid-1960s, a more integrative approach, popular with their audience. The term blue-eyed soul was applied to such artists as Sonny & Cher, The Beatles, Tom Jones, Barry McGuire, Roy Head. White musicians playing R&B music, began before the term blue-eyed soul was coined. For instance, in the early 1960s, one of the rare female blue-eyed soul singers was Timi Yuro, whose vocal delivery and repertoire were influenced by African American singers such as Dinah Washington. Lonnie Mack's 1963 gospel-infused vocals earned him widespread critical acclaim as a blue-eyed soul singer. Groups such as The Rascals had soul-tinged pop songs, but it was the soulful vocals of Felix Cavaliere that gave them the blue-eyed soul sound. By the mid-1960s, British singers Dusty Springfield, Eric Burdon and Tom Jones had become leading vocal stars of the emerging style.
Other notable UK exponents of blue-eyed soul included The Spencer Davis Group, Van Morrison, archetypal mod band The Small Faces, whose sound was influenced by the Stax label's house band Booker T. & the M. G.'s. Blue-eyed soul singer Chris Clark became the first white singer to have an R&B hit with Motown Records in 1966. In 1969, Kiki Dee became the first British artist to record with Motown; some British rock groups of the 1960s—such as the Spencer Davis Group, the Animals, the Rolling Stones, the Who —covered Motown and rhythm and blues tracks. In 1967, Jerry Lee Lewis, whose latter days at Sun Records had been characterized by R&B covers, recorded an album for Smash entitled Soul My Way. Delaney and Bonnie produced the blue-eyed soul album Home on Stax in 1969. Michael Sembello, who left home at age 17 to tour with Stevie Wonder and performed on numerous blue-eyed soul hits for Wonder, Brian McKnight, David Sanborn, Bill Champlin and Bobby Caldwell. Todd Rundgren began his career in Woody's Truck Stop, a group based on the model of the Paul Butterfield Blues Band.
After splitting from Big Brother and the Holding Company, Janis Joplin formed a new backup group, the Kozmic Blues Band, composed of session musicians like keyboardist Stephen Ryder and saxophonist Cornelius "Snooky" Flowers, as well as former Big Brother and the Holding Company guitarist Sam Andrew and future Full Tilt Boogie Band bassist Brad Campbell. The band was influenced by the Stax-Volt rhythm and blues and soul bands of the 1960s, as exemplified by Otis Redding and the Bar-Kays; the Stax-Volt R&B sound was typified by the use of horns and had a funky, pop-oriented sound, in contrast to many of the psychedelic and hard rock bands of the period. Hamilton, Joe Frank & Reynolds and the Grass Roots both had successful blue-eyed soul singles. In 1973, the American band Stories and the Canadian group Skylark had successes with their respective blue-eyed soul singles "Brother Louie" and "Wildflower". In February 1975, Tower of Power became the first white/mixed act to appear on Soul Train.
In 1975, David Bowie, another early white artist to appear on Soul Train, released Young Americans, a popular blue-eyed soul album which Bowie himself called "plastic soul". It featured the funk-inspired "Fame", which became Bowie's first number-one hit in the US. Hall & Oates' 1975 Silver Album includes the ballad "Sara Smile", long considered a blue-eyed soul standard. "She's Gone", another soulful hit, was released in 1973 but did better as a re-release after "Sara Smile". Average White Band is a Scottish funk and R&B band who had a series of soul and disco hits between 1974 and 1980, their biggest two being "Pick Up the Pieces" from their 1974 best-selling album AWB, "Cut the Cake" from their 1975 album of the same name. Boz Scaggs' 1976 "Lowdown", which featured Scaggs' laid-back vocals and a smooth funky groove, peaked at No. 3 on the Billboard Pop Singles chart. In April 1976, white funk band Wild Cherry released the Billboard Hot 100 chart topping funk/rock single "Play That Funky Music" and went to number one on the Hot Soul Singles chart.
The single would sell over two million copies. Steely Dan's 1977 single "Josie" was commercially successful. In 1978, Yvonne Elliman's "If I Can't Have You" and a cover of "Hello Stranger" both charted on the R & B charts
Hip hop music
Hip hop music called hip-hop or rap music, is a music genre developed in the United States by inner-city African Americans in the late 1970s which consists of a stylized rhythmic music that accompanies rapping, a rhythmic and rhyming speech, chanted. It developed as part of hip hop culture, a subculture defined by four key stylistic elements: MCing/rapping, DJing/scratching with turntables, break dancing, graffiti writing. Other elements include sampling beats or bass lines from records, rhythmic beatboxing. While used to refer to rapping, "hip hop" more properly denotes the practice of the entire subculture; the term hip hop music is sometimes used synonymously with the term rap music, though rapping is not a required component of hip hop music. Hip hop as both a musical genre and a culture was formed during the 1970s when block parties became popular in New York City among African-American youth residing in the Bronx; however hip-hop music did not get recorded for the radio or television to play until 1979 due to poverty during hip-hop's birth and lack of acceptance outside ghetto neighborhoods.
At block parties DJs played percussive breaks of popular songs using two turntables and a DJ mixer to be able to play breaks from two copies of the same record, alternating from one to the other and extending the "break". Hip hop's early evolution occurred as sampling technology and drum machines became available and affordable. Turntablist techniques such as scratching and beatmatching developed along with the breaks and Jamaican toasting, a chanting vocal style, was used over the beats. Rapping developed as a vocal style in which the artist speaks or chants along rhythmically with an instrumental or synthesized beat. Notable artists at this time include DJ Kool Herc, Grandmaster Flash and The Furious Five, Fab Five Freddy, Marley Marl, Afrika Bambaataa, Kool Moe Dee, Kurtis Blow, Doug E. Fresh, Warp 9, The Fat Boys, Spoonie Gee; the Sugarhill Gang's 1979 song "Rapper's Delight" is regarded to be the first hip hop record to gain widespread popularity in the mainstream. The 1980s marked the diversification of hip hop.
Prior to the 1980s, hip hop music was confined within the United States. However, during the 1980s, it began to spread to music scenes in dozens of countries, many of which mixed hip hop with local styles to create new subgenres. New school hip hop was the second wave of hip hop music, originating in 1983–84 with the early records of Run-D. M. C. and LL Cool J. The Golden age hip hop period was an innovative period between the early 1990s. Notable artists from this era include the Juice Crew, Public Enemy, Eric B. & Rakim, Boogie Down Productions and KRS-One, EPMD, Slick Rick, Beastie Boys, Kool G Rap, Big Daddy Kane, Ultramagnetic MCs, De La Soul, A Tribe Called Quest. Gangsta rap is a subgenre of hip hop that focuses on the violent lifestyles and impoverished conditions of inner-city African-American youth. Schoolly D, N. W. A, Ice-T, Ice Cube, the Geto Boys are key founding artists, known for mixing the political and social commentary of political rap with the criminal elements and crime stories found in gangsta rap.
In the West Coast hip hop style, G-funk dominated mainstream hip hop for several years during the 1990s with artists such as Dr. Dre and Snoop Dogg. East Coast hip hop in the early to mid 1990s was dominated by the Afrocentric jazz rap and alternative hip hop of the Native Tongues posse as well as the hardcore rap of artists such as Mobb Deep, Wu-Tang Clan, Onyx. East Coast hip hop had gangsta rap musicians such as Kool G Rap and the Notorious B. I. G.. In the 1990s, hip hop began to diversify with other regional styles emerging, such as Southern rap and Atlanta hip hop. At the same time, hip hop continued to be assimilated into other genres of popular music, examples being neo soul and nu metal. Hip hop became a best-selling genre in the mid-1990s and the top selling music genre by 1999; the popularity of hip hop music continued through the 2000s, with hip hop influences increasingly finding their way into mainstream pop. The United States saw the success of regional styles such as crunk, a Southern genre that emphasized the beats and music more than the lyrics.
Starting in 2005, sales of hip hop music in the United States began to wane. During the mid-2000s, alternative hip hop secured a place in the mainstream, due in part to the crossover success of artists such as OutKast and Kanye West. During the late 2000s and early 2010s, rappers such as Lil Wayne, Soulja Boy, B.o. B were the most popular rappers. During the 2010s, rappers such as Drake, Nicki Minaj, J. Cole, Kendrick Lamar all have been popular. Trap, a subgenre of hip hop has been popular during the 2010s with hip hop artists and hip hop music groups such as Migos, Travis Scott, Kodak Black; the creation of the term hip hop is credited to Keith Cowboy, rapper with Grandmaster Flash and the Furious Five. However, Lovebug Starski, Keith Cowboy, DJ Hollywood used the term when the music was still known as disco rap, it is believed that Cowboy created the term while teasing a friend who had just joined the U. S. Army, by scat singing the words "hip/hop/hip/hop" in a way that mimicked the rhythmic cadence of soldiers marching.
Cowboy worked the "hip hop" cadence into a part of his stage performance, used by other artists such as The Sugarhi
Harry Warren was an American composer and lyricist. Warren was the first major American songwriter to write for film, he was nominated for the Academy Award for Best Song eleven times and won three Oscars for composing "Lullaby of Broadway", "You'll Never Know" and "On the Atchison and the Santa Fe". He wrote the music for the first blockbuster film musical, 42nd Street, choreographed by Busby Berkeley, with whom he would collaborate on many musical films. Over a career spanning four decades, Warren wrote more than 800 songs. Other well known Warren hits included "I Only Have Eyes for You", "You Must Have Been a Beautiful Baby", "Jeepers Creepers", "The Gold Diggers' Song", "That's Amore", "There Will Never Be Another You", "The More I See You", "At Last" and "Chattanooga Choo Choo". Warren was one of America's most prolific film composers, his songs have been featured in over 300 films. Warren was born Salvatore Antonio Guaragna, one of eleven children of Italian immigrants Antonio and Rachel De Luca Guaragna, grew up in Brooklyn, New York.
His father changed the family name to Warren. Although his parents could not afford music lessons, Warren had an early interest in music and taught himself to play his father's accordion, he sang in the church choir and learned to play the drums. He began to play the drums professionally by age 14 and dropped out of high school at 16 to play with his godfather's band in a traveling carnival. Soon he taught himself to play the piano and by 1915, he was working at the Vitagraph Motion Picture Studios, where he did a variety of administrative jobs, such as props man, played mood music on the piano for the actors, acted in bit parts and was an assistant director, he played the piano in cafés and silent-movie houses. In 1918 he joined the U. S. Navy, where he began writing songs. Warren wrote over 800 songs between 1981, publishing over 500 of them, they were written for 56 feature films or were used in other films that used Warren's newly written or existing songs. His songs appeared in over 300 films and 112 of Warner Bros.
Looney Tunes and Merrie Melodies cartoons. 42 of his songs were on the top ten list of the radio program "Your Hit Parade", a measure of a song's popularity. 21 of these reached #1 on Your Hit Parade. "You'll Never Know" appeared 24 times. His song "I Only Have Eyes for You" is listed in the list of the 25 most-performed songs of the 20th Century, as compiled by the American Society of Composers and Publishers. Warren was the director of ASCAP from 1929 to 1932, he collaborated on some of his most famous songs with lyricists Al Dubin, Billy Rose, Mack Gordon, Leo Robin, Ira Gershwin and Johnny Mercer. In 1942 the Gordon-Warren song "Chattanooga Choo-Choo", as performed by the Glenn Miller Orchestra, became the first gold record in history, it was No.1 for nine weeks on the Billboard pop singles chart in 1941–1942, selling 1.2 million copies. Among his biggest hits were "There Will Never Be Another You", "I Only Have Eyes for You", "Forty-Second Street", "The Gold Diggers' Song", "Lullaby of Broadway", "Serenade In Blue", "At Last", "Jeepers Creepers", "You're Getting to Be a Habit with Me", "That's Amore", "Young and Healthy".
Warren's first hit song was "Rose of the Rio Grande", with lyrics by Edgar Leslie. He wrote a succession of hit songs in the 1920s, including "I Love My Baby" and "Seminola" in 1925, "Where Do You Work-a John?" and "In My Gondola" in 1926 and "Nagasaki" in 1928. In 1930, he composed the music for the song "Cheerful Little Earful" for the Billy Rose Broadway revue and Low, composed the music, with lyrics by Mort Dixon and Joe Young, for the Ed Wynn Broadway revue The Laugh Parade in 1931, he started working for Warner Brothers in 1932, paired with Dubin to write the score for the first blockbuster film musical, 42nd Street, continued to work there for six years, writing the scores for 32 more musicals. He worked for 20th Century Fox writing with Mack Gordon, he moved to MGM starting in 1944, writing for musical films such as The Harvey Girls and The Barkleys of Broadway, many starring Fred Astaire. He worked for Paramount, starting in the early 1950s, writing for the Bing Crosby movie Just for You and the Martin and Lewis movie The Caddy, the latter containing the hit song "That's Amore".
He continued to write songs for several more Jerry Lewis comedies. Warren is remembered for writing scores for the films of Busby Berkeley, his "uptempo songs are as memorable as Berkeley's choreography, as for the same reason: they capture, in a few snazzy notes, the vigorous frivolity of the Jazz Age."Warren won the Academy Award for Best Song three times, collaborating with three different lyricists: "Lullaby of Broadway" with Al Dubin in 1935, "You'll Never Know" with Mack Gordon in 1943, "On the Atchison and the Santa Fe" with Johnny Mercer in 1946. He was nominated for eleven Oscars. In 1955, Warren wrote "The Legend of Wyatt Earp", used in the ABC/Desilu Studios television series, The Life and Legend of Wyatt Earp, he wrote the opening theme, "Hey, Marty", for the film Marty, which won the Academy Award for Best Picture in 1955. The last musical score that Warren composed for Broadway was Shangri-La, a disastrous 1956 adaptation of James Hilton's Lost Horizon, which ran for only 21 performances.
In 1957, he received his last Academy Award nomination for "An Affair To Remember". He continued to write songs for movies throughou
In popular music, a cover version, cover song, revival, or cover, is a new performance or recording by someone other than the original artist or composer of a recorded, commercially released song. Before the onset of rock'n' roll in the 1950s, songs were published and several records of a song might be brought out by singers of the day, each giving it their individual treatment. Cover versions could be released as an effort to revive the song's popularity among younger generations of listeners after the popularity of the original version has long since declined over the years. On occasion, a cover can become more popular than the original, such as Elvis Presley's version of Carl Perkins' original "Blue Suede Shoes", Santana's 1970 version of Peter Green's and Fleetwood Mac's 1968 "Black Magic Woman", Johnny Cash's version of Nine Inch Nails' "Hurt", Whitney Houston's versions of Dolly Parton's "I Will Always Love You" and of George Benson's "The Greatest Love of All", Glenn Medeiros's version of George Benson's "Nothing's Gonna Change My Love for You" or Jimi Hendrix's version of Bob Dylan's "All Along the Watchtower".
The Hendrix recording, released six months after Dylan's original, became a Top 10 single in the UK in 1968 and was ranked 48th in Rolling Stone magazine's 500 Greatest Songs of All Time. Another famous example is the Beatles' cover of "Twist and Shout" by the Top Notes, their cover of the song, "Til There Was You", by Meredith Willson, among many others; the term "cover" goes back decades when cover version described a rival version of a tune recorded to compete with the released version. The Chicago Tribune described the term in 1952: "trade jargon meaning to record a tune that looks like a potential hit on someone else's label". Examples of records covered include Paul Williams' 1949 hit tune "The Hucklebuck" and Hank Williams' 1952 song "Jambalaya". Both had numerous hit versions. Before the mid-20th century, the notion of an original version of a popular tune would have seemed odd – the production of musical entertainment was seen as a live event if it was reproduced at home via a copy of the sheet music, learned by heart or captured on a gramophone record.
In fact, one of the principal objects of publishing sheet music was to have a composition performed by as many artists as possible. In previous generations, some artists made successful careers of presenting revivals or reworkings of once-popular tunes out of doing contemporary cover versions of current hits. Musicians now play what they call "cover versions" of songs as a tribute to the original performer or group. Using familiar material is an important method of learning music styles; until the mid-1960s most albums, or long playing records, contained a large number of evergreens or standards to present a fuller range of the artist's abilities and style. Artists might perform interpretations of a favorite artist's hit tunes for the simple pleasure of playing a familiar song or collection of tunes. A cover band plays such "cover versions" exclusively. Today three broad types of entertainers depend on cover versions for their principal repertoire: Tribute acts or bands are performers who make a living by recreating the music of one particular artist or band.
Bands such as Björn Again, Led Zepagain, The Fab Four, Australian Pink Floyd Show, The Iron Maidens and Glory Days are dedicated to playing the music of ABBA, Led Zeppelin, The Beatles, Pink Floyd, Iron Maiden and Bruce Springsteen respectively. Some tribute acts salute the Who, many other classic rock acts. Many tribute acts target artists who remain popular but no longer perform, allowing an audience to experience the "next best thing" to the original act; the formation of tribute acts is proportional to the enduring popularity of the original act. Many tribute bands attempt to recreate another band's music as faithfully as possible, but some such bands introduce a twist. Dread Zeppelin performs reggae versions of the Zeppelin catalog and Beatallica creates heavy metal fusions of songs by the Beatles and Metallica. There are situations in which a member of a tribute band will go on to greater success, sometimes with the original act they tribute. One notable example is Tim "Ripper" Owens who, once the lead singer of Judas Priest tribute band British Steel, went on to join Judas Priest himself.
Cover acts or bands are entertainers who perform a broad variety of crowd-pleasing cover songs for audiences who enjoy the familiarity of hit songs. Such bands draw from current Top 40 hits and/or those of previous decades to provide nostalgic entertainment in bars, on cruise ships and at such events as weddings, family celebrations and corporate functions. Since the advent of inexpensive computers, some cover bands use a computerized catalog of songs, so that the singer can have the lyrics to a song displayed on a computer screen; the use of a screen for lyrics as a memory aid can increase the number of songs a singer can perform. Revivalist artists or bands are performers who are inspired by an entire genre of music and dedicate themselves to curating and recreating the genre and introducing it to younger audiences who have not experienced that music first hand. Unlike tribute bands and cover bands who rely on audiences seeking a nostalgic experience, revivalist bands seek new young audiences for whom the music is fresh and has no nostalgic value.
For example, Sha Na Na
Billboard is an American entertainment media brand owned by the Billboard-Hollywood Reporter Media Group, a division of Eldridge Industries. It publishes pieces involving news, opinion, reviews and style, is known for its music charts, including the Hot 100 and Billboard 200, tracking the most popular songs and albums in different genres, it hosts events, owns a publishing firm, operates several TV shows. Billboard was founded in 1894 by William Donaldson and James Hennegan as a trade publication for bill posters. Donaldson acquired Hennegen's interest in 1900 for $500. In the early years of the 20th century, it covered the entertainment industry, such as circuses and burlesque shows, created a mail service for travelling entertainers. Billboard began focusing more on the music industry as the jukebox and radio became commonplace. Many topics it covered were spun-off into different magazines, including Amusement Business in 1961 to cover outdoor entertainment, so that it could focus on music.
After Donaldson died in 1925, Billboard was passed down to his children and Hennegan's children, until it was sold to private investors in 1985, has since been owned by various parties. The first issue of Billboard was published in Cincinnati, Ohio by William Donaldson and James Hennegan on November 1, 1894, it covered the advertising and bill posting industry, was known as Billboard Advertising. At the time, billboards and paper advertisements placed in public spaces were the primary means of advertising. Donaldson handled editorial and advertising, while Hennegan, who owned Hennegan Printing Co. managed magazine production. The first issues were just eight pages long; the paper had columns like "The Bill Room Gossip" and "The Indefatigable and Tireless Industry of the Bill Poster". A department for agricultural fairs was established in 1896; the title was changed to The Billboard in 1897. After a brief departure over editorial differences, Donaldson purchased Hennegan's interest in the business in 1900 for $500 to save it from bankruptcy.
That May, Donaldson changed it from a monthly to a weekly paper with a greater emphasis on breaking news. He improved editorial quality and opened new offices in New York, San Francisco and Paris, re-focused the magazine on outdoor entertainment such as fairs, circuses and burlesque shows. A section devoted to circuses was introduced in 1900, followed by more prominent coverage of outdoor events in 1901. Billboard covered topics including regulation, a lack of professionalism and new shows, it had a "stage gossip" column covering the private lives of entertainers, a "tent show" section covering traveling shows, a sub-section called "Freaks to order". According to The Seattle Times, Donaldson published news articles "attacking censorship, praising productions exhibiting'good taste' and fighting yellow journalism"; as railroads became more developed, Billboard set up a mail forwarding system for traveling entertainers. The location of an entertainer was tracked in the paper's Routes Ahead column Billboard would receive mail on the star's behalf and publish a notice in its "Letter-Box" column that it has mail for them.
This service was first introduced in 1904, became one of Billboard's largest sources of profit and celebrity connections. By 1914, there were 42,000 people using the service, it was used as the official address of traveling entertainers for draft letters during World War I. In the 1960s, when it was discontinued, Billboard was still processing 1,500 letters per week. In 1920, Donaldson made a controversial move by hiring African-American journalist James Albert Jackson to write a weekly column devoted to African-American performers. According to The Business of Culture: Strategic Perspectives on Entertainment and Media, the column identified discrimination against black performers and helped validate their careers. Jackson was the first black critic at a national magazine with a predominantly white audience. According to his grandson, Donaldson established a policy against identifying performers by their race. Donaldson died in 1925. Billboard's editorial changed focus as technology in recording and playback developed, covering "marvels of modern technology" such as the phonograph, record players, wireless radios.
It began covering coin-operated entertainment machines in 1899, created a dedicated section for them called "Amusement Machines" in March 1932. Billboard began covering the motion picture industry in 1907, but ended up focusing on music due to competition from Variety, it created a radio broadcasting station in the 1920s. The jukebox industry continued to grow through the Great Depression, was advertised in Billboard, which led to more editorial focus on music; the proliferation of the phonograph and radio contributed to its growing music emphasis. Billboard published the first music hit parade on January 4, 1936, introduced a "Record Buying Guide" in January 1939. In 1940, it introduced "Chart Line", which tracked the best-selling records, was followed by a chart for jukebox records in 1944 called Music Box Machine charts. By the 1940s, Billboard was more of a music industry specialist publication; the number of charts it published grew after World War II, due to a growing variety of music interests and genres.
It had eight charts by 1987, covering different genres and formats, 28 charts by 1994. By 1943, Billboard had about 100 employees; the magazine's offices moved to Brighton, Ohio in 1946 to New York City in 1948. A five-column tabloid format was adopted in November 1950 and coated paper was first used in Billboard's print issues in January 1963, allowing for photojournalis
The Pursuit (album)
The Pursuit is the fifth studio album by Jamie Cullum. It was released on 9 November 2009 in the United Kingdom, released in the United States and Canada on 2 March 2010, it was produced by Greg Wells and Martin Terefe, mixed by Gregg Wells, Thomas Juth and Ryan Hewitt. The album's title is taken from the novel The Pursuit of Love by Nancy Mitford; the album was recorded at a Los Angeles studio using songs that Cullum recorded at his Shepherd's Bush recording studio, Terrified Studios. The song "Mixtape" features Sophie Dahl on backing vocals; the first single from the album, "I'm All Over It", was released on 2 November 2009. Music Week critic Andy Morris states in his review of the album, "The Cole Porter cover at the start won't surprise you, but the house track at the end just might. Cullum's fifth album does justice to his musical influences: from the Portishead-tinged'If I Ruled The World' to the wonky groove of'We Run Things', it's bold and the best thing Cullum's done."Both the track listing and the cover-art for the album were released on 27 August 2009
Our Day Will Come
"Our Day Will Come" is a popular song composed by Mort Garson with lyrics by Bob Hilliard. It was recorded by American R&B group Ruby & the Romantics in early December, 1962, reaching number one on the Billboard Hot 100; the song's composers were hoping to place "Our Day Will Come" with an established easy listening act and only agreed to let the new R&B group Ruby & the Romantics record the song after Kapp Records' A&R director Al Stanton promised that, if the Ruby & the Romantics' single failed, Kapp would record the song with Jack Jones. Stanton cut two versions of "Our Day Will Come" with Ruby & the Romantics, one with a mid-tempo arrangement and the other in a bossa nova style. "Our Day Will Come" charted at number 11 in Australia and at number 38 the United Kingdom. The personnel on the original recording were: Leroy Glover on organ. Frankie Valli recorded and released "Our Day Will Come" in 1975, his rendition features Patti Austin on accompanying vocals. Valli's version reached #11 on the U.
S. Billboard Hot 100, on the Adult Contemporary chart, it spent two weeks at number two. Internationally, it reached the Top 40 in Canada and the UK, doing best in Ireland, where it reached number three. Recorded for her 2003 debut album Frank, the Amy Winehouse remake of "Our Day Will Come" was first issued on the singer's posthumous compilation album Lioness: Hidden Treasures; the song was released to UK contemporary hit radio on November 2, 2011, as the album's second single, Winehouse's first solo single release since "Love Is a Losing Game" in 2007. Producer Salaam Remi who had worked with Winehouse on her albums Frank and Back to Black, as well as on the posthumous compilation, stated that "Our Day Will Come" will serve as a poignant reminder of the star's talent; the music video for "Our Day Will Come": a montage of Winehouse throughout her career with clips from music videos, live performances and press coverage, was sent to UK music channels on 21 November 2011. Following the release of the music video, Winehouse's father tweeted: "I just watched Amy's'Our Day Will Come' video.
She is so lovely." Robert Copsey of Digital Spy gave the song four stars out of five and a positive review, stating: That said, the thinking behind the decision to release Winehouse's rendition of Ruby and the Romantics' 1963 hit'Our Day Will Come' becomes apparent. Over a smoky melody and reggae-tinged beat she promises wistfully, "Our day will come, we'll have everything," before professing her everlasting love for her beau; the result serves as a timely reminder that beneath the demons that plagued her final years, her raw talent was undeniable. Recorded by Theo Sarapo as "Ce jour viendra" April 1963: Billy Fury on his album Billy. May 1963: Julie London on her album The End of the World. June 1963: Blossom Dearie on her album Blossom Dearie Sings Rootin' Songs; this recording used as Ending title of Jacques Rivette film "The Story of Marie and Julien". July 1963: Bobby Darin on his album 18 Yellow Roses & 11 Other Hits. September 1963: Patti Page on her album Say Wonderful Things. December 1963: Brenda Lee on her album Let Me Sing.
1963: George Chakiris on his album You're Mine, You. 1963: Les Compagnons de la chanson as "Ce Jour Viendra" on their EP Vol. 4. 1963: The Earls on their album Remember Me Baby. 1963 Percy Faith and his Orchestra on his album Themes for Young Lovers. 1963: Dee Dee Sharp on her album Do the Bird. January 1964: Bobby Rydell on his album The Top Hits Of 1963. September 1964: Pat Boone on his album Boss Beat. November 1964: Julie Rogers' – B-side of "Like a Child" number 21. 1964: Betty Everett and Jerry Butler on their album Delicious Together. 1964: The Lennon Sisters on their album #1 Hits Of The 1960s. 1964: Trini Lopez on his album The Love Album. 1964: Nancy Wilson on her album Today, Forever. 1964: Sonny Stitt and Bennie Green on their album My Main Man. March 1965: Doris Day on her album Latin for Lovers, arranged by Mort Garson. 1965: Willie Bobo on his album Spanish Grease. 1965: The Supremes recorded their song for the album There's a Place for Us, but remained unreleased until 1987 and 2005. Mary Wilson was the lead singer on the recording.
February 1966: Cher recorded a version for her album The Sonny Side of Chér. The song was the B-side of the hit "Bang Bang". Cher's version was issued as an A-side single in November 1972, following its inclusion on a United Artists compilation disc entitled Cher, the single did not chart. October 1966: Cliff Richard on his album Kinda Latin. November 1966: Herb Alpert and The Tijuana Brass – B-side of their single "Mame" number 19/ parent album: SRO. 1966: Fontella Bass on her album The'New' Look. 1966: James Brown on his album Handful of Soul. 1966: Claire Lepage as "Ce Jour Viendra" on her album Bang! Bang!. 1966: Chris Montez on his album Time After Time. 1966: The Vibrations on their album New Vibrations. 1967: Buddy Merrill on his album The Many Splendored Guitars Of Buddy Merrill. 1967: Sharon Tandy. 1967: Cal Tjader on his album Along Comes Cal. 1967: We Five on their album Make Someone Happy. May 1968: The Lettermen on their album Goin' Out of My Head. 1968: Jimmy Castor on his album Hey Leroy.
1968: Toni Lamond on her EP A Touch of Toni. 1968: Inga Sulin as "Kun Aika" on her album Niinkuin Jokainen. 1969: Classics IV on their album Traces. 1969: Spiral Sta