He arranged the stomping, string-driven groove of Northern Soul favorite "It'll Never Be Over for Me" and the torch-styled "You Know You Don't Want Me (So Why Don't You Leave Me Alone)" from Johnny Mercer and Robert Emmett Dolan, writers of the abortive Broadway musical Foxy. included key recordings with Yuro's idol Dinah Washington, Sarah Vaughan and Aretha Franklin, produced the remaining four songs with his usual aplomb for both jazz and R&B styles. King's yearning, dramatic melody was needless to say perfect for Yuro's style, and Green delivered a storming, widescreen production that deserved more attention.īelford Hendricks, whose own C.V. Green also helmed Yuro's own co-written ballad "Wrong" and Tom Springfield's uptempo "As Long As There is You" (which would have been a fine candidate for a single) as well as covers of songs popularized by Tom Jones (Lonnie Donegan's "(It Looks Like) I'll Never Fall in Love Again") and Freddie Scott (Carole King and Gerry Goffin's "Hey Girl," as "Hey Boy"). Green produced "I Must Have Been Out of My Mind," a brassy throwback ballad also recorded by Brenda Lee, Jim Nabors and John Rowles which Iannarelli reveals was Yuro's own favorite track on the album. Indeed, Yuro's committed vocals hold together the album which was eventually culled from sessions with three different producers: Reed, U.K.-based Ian Green, and Timi's old collaborator Belford Hendricks. The second song from the Reed-Mason-Yuro triumvirate, "When He Wants a Woman," doesn't have as strong a hook, but Reed again pulled out the production stops to support Yuro's singular vocal instrument. "Something Bad on My Mind" is classy, sophisticated adult pop circa 1968 melding the vocalist's husky, expressive pipes to a big, dynamic production. The new liner notes by Yuro's friend Mike Iannarelli reveal that three songs were cut by songwriter-producer Reed with Yuro, but only two were included on the album and the third has unfortunately been lost. tunesmiths Les Reed and Barry Mason ("Delilah," "Kiss Me Goodbye," "The Last Waltz"). Something Bad on My Mind took its title from a tune penned by top U.K. Something Bad on My Mind + The Unreleased and Rare Liberty Recordings paints a full portrait of "the little girl with the big voice," as she was once (rather accurately) called. Thanks to Cherry Red's Morello Records label, that original stereo album has finally received a CD debut, paired with a new collection of twelve outtakes and rarities from Yuro's Liberty tenures. By late 1967, Yuro was back at Liberty, and the next year, Something Bad on My Mind arrived. She was dubbed The Amazing Timi Yuro by Mercury Records for her Quincy Jones-produced LP debut there in 1964, but Mercury never followed it up with another long-player, opting instead for a number of single releases. After having spent the first portion of her career at Liberty, Yuro departed the label in 1963. The late, Chicago-born Italian-American vocalist was signed to Liberty Records as a teenager, bringing jazz and R&B influences into her emotional, heart-on-its-sleeve blue-eyed soul style.
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