While Sonny & Cher are seen as freaks in the United States mid-1965, it's love at first sight acrossthe Atlantic. The more fashionable (and broader-minded) British 
response to their promotional visit breaks precedents when they're re-booked (for a month) on TOP OF THE POPS; and a press deluge sends their popularity and record sales skyrocketing. Sonny & Cher are the stylish, imaginative and original vanguards for the countercultural revolution to follow: to all appearances they define equalpartnership with an anti-establishment take on gender and politics.
For the next year England serves as a base for Sonny & Cher's American Invasion of Europe via music and fashion. More used to a four-boy rock lineup of dubious musical pedigree, musically savvy Londoners enthuse over Sonny & Cher's added piano and second drummer in concert, as well as their ability to recreate their hits live. On continental Europe, French and Italian covers of the Sonny & Cher records will soon be charting in the six-figure range as fast Sonny can make the templates. Of course he's been making records for years, and when the re-issues hit the stores in 1965 teenyboppers dont have a clue what label they actually record for, but they sure as hell know what Sonny & Cher look like.
Britain's FABULOUS magazine - as guest-edited by Donovan - dispatches The Zombies' Colin Blunstone and a Marianne Faithfull look-alike model (right, above) to the streets of London for a fashion spread on The Sonny & Cher Look: if it can't be bought, designers re-create it. The unique style however is nobody's vision but Sonny & Cher's. A rebellious teenager's refusal to wear dresses or go to a beauty parlor could spell disaster: in Cher's case (adapting boys' clothes for night and stripper makeup for daywear) it means millions of girls will take to wearing pants formally, and an archetype of brunette beauty will emerge to challenge Anglocentric ideals forever.
In Europe especially, managers Greene & Stone attribute Cher's "look" as a nod to her American Indian ancestry*, and there's no shortage of animal skins and fringing in how Sonny & Cher present themselves there. The trendiest of Italian beat boys cop Sonny's neo-cavish sartorial statements and attitude as their thing, and girls everywhere will do their darndest to emulate Cher regardless of their own attributes. The vibes aren't all good back home: Nancy Sinatra dismisses the pair as clowns, the Beach Boys indulge in an especially nasty parody of "Laugh At Me" at Sonny's expense.
* Half a century after the fact, Cher will be castigated for "cultural appropriation", and the apparently well-meaning accusers will undertake online "investigations" seeking to disprove Indian heritage. Cher's own acknowledgment that she is indeed a fashion victim (but by choice...) presumably can be partly - or wholly - to blame for the look she gifted the Woodstock generation.
Cher however won't be compromising her style to suit anybody's tastes other than her own, and achieves what few trendy rockers are able to manage in 1966: an extended 14-page spread in Vogue magazine, photographed by Richard Avedon. Although nominally peddling next season's fashion (which Cher models superbly), the magazine's imprimatur is upon Cher herself as a unique and original beauty, and then some. Her familiar "look" isn't toned down or gentrified: it's polished and exaggerated to a fare-the-well. The celebrity fashion foray won't help to sell records or a Sonny & Cher film or her own fashion label, but it's a remarkable early snapshot of Cher as a self-invention who/which is of more substance than the immediate and the apparent.
Vogue November 1966 / Richard Avedon
Since the first release of "Baby Don't Go" (on Reprise in late '64, and a hit in Los Angeles only), Sonny has been recording other acts with Charlie Greene and Brian Stone, unsure and unaware that Sonny & Cher are soon destined for The Bigtime. L.A. high-profilers like D.J. Reb Foster, The Pastel Six and Joey Paige are produced by Sonny, with only very limited local success. Sonny's tentative Wall Of Sound for the Standells fails to catch on despite being a major hit pick, and Cookie Jackson's record will have to wait forty years before becoming a Northern Soul collectible.
Reb Foster, Charlie Greene at Gold Star, Joey Paige
Standells, The |
Vee Jay 643 |
*The Boy Next Door (SB/G) / BJ Quetzal (SB, G&S) (inst) |
|
Standells, The |
VeeJay 679 |
*Big Boss Man / *Don't Say Goodbye |
*Prod SB |
Reb Foster |
Loma 2008 |
Something You Got / Quetzal & Jude (inst by Reb & Rousers) |
Arr Prod SB for York-Pala |
Fiends, The |
GNP Crescendo 335 |
Theme From Addams Family / Quetzal Quake (SB,G&S) |
Both Intrumental |
Pastel Six |
Chattahoochee 696 |
I Can't Dance / Red River Quetzal (inst) |
|
Cookie Jackson |
Uptown 700 |
Uptown Jerk / I'm Gonna Shout It On The Mountain |
Both written SB,G&S |
BJ & The Profits |
Uptown 705 |
It's Gonna Rain Outside (SB) / I Lost All Faith (SB, G&S) |
|
Sonny Bono |
VeeJay 710 |
Midnight Surf (Theme For Valora) / Ride The Wild Quetzal |
Both inst written SB,G&S |
Joey Paige |
Tollie 9045 |
Cause I'm In Love With You / Yeah Yeah Yeah (SB) |
Both Arr Prod SB Eng Stan Ross |
Although by early 1965 "Sonny & Cher" and "Cher" have exclusive duo and solo contractswith Atco/Atlantic and Imperial/Liberty respectively, the fruits of their earlier labors appear with astonishing speed as cash-ins and otherwise following the mid-year national breakout by both entities.
Reprise Records catches the Sonny & Cher wave by re-releasing "Baby Don't Go" in August 1965, scoring an international hit. Anticipating a second bite of the pie, the three older Jimmy Bowen-produced Caesar & Cleo tracks, which Sonny dismisses as "demos", are pressed into service. But Reprise's attempts to follow-up the "Baby Don't Go" windfall will be hampered by the names and signatures on the Caesar & Cleo contract*, and won't cruise up the charts as Sonny & Cher product. Not for lack of effort though: Reprise aggressively distributes 45s, an EP and an album worldwide which even touts a throwaway B-side instrumental as a Sonny & Cher recording. Vault's Caesar & Cleo track is however re-released as a Sonny & Cher 45 (with some regional charting action) and quickly acquired by Atco for inclusion on the first Sonny & Cher LP. But Sonny's old Don Christy effort from 1962 "I'll Change" doesn't change into a 1965 hit.
* The session release is signed by Salvatore Bono & Cher LePiere on behalf of "Caesar & Cleo", and can't legally be sold as Sonny & Cher recordings.
Europe's Romance languages and musical sensibilities inhibit creation of original rock and beat records, but good local lyricists (along with excellent arrangers and producers) are well able to transform melodically-strong Anglo pop-rock songs into brilliant Italian, Spanish and French/Canadian records. Sonny's musical imagination and influences (from childhood tarantella to Harold Battiste's World Music via Phil Spector) may not greatly move Americans, but the opposite applies to Europeans. As "Ya Te Tengo", "I Got You Babe" does service across the Spanish-speaking world as everything from a wistful beat groove to a throbbing tit-shaker. The world of Ye-Ye is quick to notice Sonny & Cher's music: French superstar Sylvie Vartan cuts a perfect beat-ish "Baby Don't Go" in late-65 (as "C'etait Trop Beau") - evidencing an adaptability which will ensure her longeivity from Ye-Ye into the 21st Century. Akim's take on "Just You" ("Pas Sans Moi") successfully replicates the original lushly-Spectorian production.
"Sing C'est La Vie" is bigger than "I Got You Babe" in Australia; and Frank Alamo ends his career as a YeYe Boy on a high point with the song, prior to army service. An accompanying color video ensures that neither Frank nor "Sing C'est La Vie" will be quickly forgotten by his French or Quebecois fan base. Quebec takes its cues from Paris, and Sonny's songs re-cross the Atlantic as local covers of French hits. French Canadians even get their own Sonny & Cher in the form of Nanette et Tony when Tony Roman jump-starts Nanette Workman's career with a Bonoesque cover of Sonny & Cher's rock'n'roll take on "Et Maintenant", to be followed by similar efforts with "Little Man", "It's The Little Things" and "The Beat Goes On".
Italian cover versions kick off in 1966 with back-to-back releases of "I Got You Babe" and "Just You" (as "Sei Contento" and "Ancora Sempre e Solo Te" respectively) from folkies Jonathan & Michelle; to much the same disinterest as Gidiuli's version of "I Got You Babe". I Ragazzi del Sole however break through with "Laugh At Me", as "Non Ridere di Me". (France's Sheila has already done a drastically reworked version (as "A La meme Heure"), and this in turn has been covered by Montreal all-girl band Les Guerrieres.)
I Nomadi's straight-ahead protest take on "The Revolution Kind" ("Come Potete Giudicar") launches a long career for a group which will remain committed to apolitical social justice senza apologia, unlike the writer of their breakthrough hit. Sonny's original cop-out English lyric is ignored in translation, but Come Potete Giudicar button pins - the bumper stickers of Italo-rebels - are omnipresent. Nomadi's massively popular 45 even features "You Dont Love Me" (from Sonny & Cher's LP) on the B-Side, and the group enter the madness of Cantagiro '66 with the song. The sensational Patty Pravo's solidly in-the-pocket version of "But You're Mine" ("Ragazzo Triste") hits another home-run, dramatically redefining the original without reinventing it. She doesn't need to since it's pure canzone in form anyhow, and she takes ownership of it for one of her all-time career-defining anthems. (Decades later inmates will deliver an impromptu acapella performance welcoming La Pravo to the slammer for a brief stay behind bars.)
In 1966 Cher squares off against no less than four versions of "Bang Bang" in Italy alone. Equipe 84 define the song as an epic spaghetti western, and blast Cher out of the Top 10 on their way to a shoot-out with Sinatra's "Strangers" for the top slot. After months in second place they only enjoy top gun status for a couple of weeks. Dalida - re-invented as a Nancy Sinatra look-alike - blows them all away with her tortured "Bang Bang": she replaces Equipe 84 at Number One, after refusing to perform on any venue with singers of rival versions. (Chart compilers give up tracking sales and airplay, and award everybody who's recorded "Bang Bang" top honors.) Inspiring an alternate-lyric Quebecoise version from Claire Lepage, Sheila takes the song to the top in France, and her movie the following year is called... yep..."Bang-Bang. Some Statesiders snicker when Ahmet Ertegun pronounces it "one the greatest post-WW2 songs ever written", but they haven't seen the sales figures from Europe, and can't know its golden future as Sonny's most valued copyright - with Ahmet in for a slice of the publishing action on all versions.
European superstars Petula Clark ("Where Do You Go","Bang Bang"), Dalida ("Bang Bang", "Little Man", "Mama"), Paul Mauriat ("Bang Bang", "Mama") and Milva ("Little Man") all add Sonny Bono songs to their hits repertoires, as well as their albums which are racking up millions in multilingual sales worldwide. Superb lyricists like Mogol, Miki Del Prete and Allesandro Colombini provide translations or new lyrics for Sonny & Cher recordings - songs destined to become beat standards, or sentimental favorites in the hands of Eurodivas like the semi-tragic Dalida.
Sonny & Cher arrive in London mid-summer 1966 to begin a European tour at the onset of the Continental "Bang Bang" furor, and Sonny's timing couldn't be better. He brings an unfinished track to London, lays down overdubs and vocals and rush-releases it. "Little Man" is a worldwide smash (without visiting the U.S. Top Ten), and Sonny & Cher need to lay down French vocals to compete with two lyrically different French versions (Dalida's "Petit Homme", Erick Saint -Laurent's "Les Enfants Qui Jouent"). It's the same deal in Italy: their "Piccolo Ragazzo" will chart behind Milva's and ahead of I Rogers' versions. As an orchestrated schlager , "Little Man" cracks the massive easy-listening market - cheerily greeting fans picking up their new James Last and Franck Pourcel albums.
Dalida will finish 1967 as she started: sitting squarely on top of the Italian charts with yet another from Sonny's trusty upright ("Mama"), delivering a repeat performance of hand-wrenching High Melodrama. In between "Bang Bang" and "Mama", the former Miss Egypt has wisely seconded "Little Man" ("Petit Homme") into another hit, since it's a close relative of her "Zorba's Dance" smash from the year before. Nanette's stint as an interpreter of Sonny & Cher's songs comes to an end around the same time as her affiliation with Tony Roman & the Canusa label, and she's in fine form with "Et Tout Recommence" - one of the better covers of "The Beat Goes On".
1966 European trading cards
January 1967's San Remo Song Festival is anti-climactic for Sonny & Cher inasmuch as neither Cher nor the duo make it to the finals with their entries. Nor do they feature prominently in the predictable notoriety of the proceedings. Harold Battiste conducts the orchestra for Cher's "Ma Piano" and Sonny & Cher's "Il Cammino di Ogni Speranza". Both songs are also respectively performed by soundtrack singer Nico Fidenco and star Beat Girl Caterina Caselli, according to but one tradition of the festival. San Remo has an established reputation for scandal, controversy and dramatic outrages - often directed at co-performers - and it's fast gaining a reputation as a front for graft and corruption in the Italian recording business.
Dirty record company politics see Cher narrowly get to perform "Ma Piano" ("Slowly") at the expense of I Nomadi. Neither is wanted by the composer or his cohort Fidenco, who derides Cher's phonetic (though excellent) delivery of the shared song, which in a short space of time will be quickly forgotten for the lousy tune it actually is. La Caselli blames the shared "Il Cammino" ("The Way of Every Hope") defeat on teetotalling Sonny & Cher's inebriation and worse. But it's the ubiquitous Dalida's just-fianced Luigi Tenco who puts sour grapes and grappa into reasonable perspective by allegedly blowing his brains out with a handgun following his loss. Tenco's "protest suicide" and subsequent conspiracy theories define San Remo '67: the festival della canzone begins its decline, Il Cult di Tenco is born and "Bang Bang" is already in Dalida's tragedienne repertoire - albeit with a new resonance: she attempts suicide a week after Tenco's demise.
Sonny & Cher enjoy the average twenty-month lifespan of most hit acts of the pop-rock era, with a remarkable twist: as American and British Top 40 tastes dispense with Sonny and Cher, their original records become demos for European superstars and even hits behind the Iron Curtain. The flash of songwriting magic Sonny Bono showed in 1965 will be rewarded in Europe for as long as he focuses on writing strong, original material. He doesn't however, and despite Italian lyrics by Mogol, "Caro Cara" is out-dated Spector-fied Ye Ye music. But it's the best offering from the GOOD TIMES movie soundtrack, and won't inspire a slew of Continental covers. Cher's final stateside smash of the Sixties "You Better Sit Down Kids", sung in Italian as "Bambini Miei Cari", surprisingly ends up as a B-side. By 1968 the Italian Jobs are finito and The French Connection's vaporized, but Sonny has made his mark: few Anglo rock composers will see their ditties morph so very successfully into the diverse Beat or dramatic tearjerker idioms of French, and especially Italian, popular song. Even fewer will do it on the strength of a five-chord mastery of the piano.
The Pro-Bono Project was begun by noted musicologist Phil X Milstein in 2005 as a collection of Sonny's more quirky 60's musical projects like the Quetzal instrumentals which graced many of Sonny & Cher's 45 B-sides. Over time, and with ongoing global contributions, the Project has grown into an archive of hundreds of cover recordings, pre- and post-Cher recordings and compositions, serious soundalikes and not-so-serious spoofs and spins on Sonny & Cher. This site is indebted to Phil's research and generosity, without which the following listing of 60's international cover versions and forgotten gems would be considerably less complete. Additions & corrections are welcome!
"BABY DON'T GO"
Chad & Jeremy |
US |
LP Columbia CS 9198 |
|
from "I Don't Want To Lose You Baby" |
James Last |
DE |
LP Polydor 104 678 |
1966 |
from "This Is James Last"aka "Beat In Sweet" |
Jimmy & Pat |
US |
Hit 224 |
1965 |
budget soundalike |
Sylvie Vartan |
FR |
EP RCA Victor 86 125 M |
1965 |
as "C'etait Trop Beau" |
Those Fantabulous Strings |
US |
LP Metro M/MS 557 |
1965 |
inst.,from "...play The Sonny & Cher Hits" |
The Vogues |
US |
LP Co&Ce 1229 |
1965 |
from "Meet The Vogues" |
"BANG BANG"
Ajda Pekkan |
TU |
45 Regal 5002 |
1966 |
sung in English |
Anda Calugareanu |
RO |
45 Electrecord – EDC 957 |
1968 |
as "Beng Beng" |
Ann Burton |
NL |
LP CBS 52807 |
1969 |
from "Ballads And Burton" |
Beau Brummels, The |
US |
LP Warner Bros W/S 1644 |
1966 |
from "Beau Brummels '66" |
Bonzo Dog Band |
UK |
LP |
1968 |
from The Doughnut In Granny's Greenhouse |
Cem Karaca w/ Apaslar |
TU |
EP Sayan Seri FS 127 |
1967 |
|
Chet Baker & Mariachi Brass |
US |
LP World Pacific WPS 21842 |
1966 |
from "Hats Off" |
Clair Lepage |
CA |
45 Teledisc TD21 |
1966 |
alt French lyric to Sheila version |
Cliff Richard |
UK |
LP Columbia SCX 6435 |
1970 |
from "Tracks 'n' Grooves" |
D. Kalafe |
BR |
EP Unidos AUCS 7.009 |
|
|
Dalida |
FR |
45 Barclay 60738 |
1966 |
sung in French |
Dalida |
IT |
45 Barclay BN 6097 |
1966 |
sung in Italian |
Djordje Marjanovik |
YU |
EP RTB PGP 50111 |
|
sung in Serbian, sampled by U Ime Igre 2005 |
Enrico Ciacci
|
IT |
LP RCA Italiana S 18 |
1967 |
from "Chittara Sessantasette" |
Equipe 84 |
IT |
45 Ricordi SRL 10.438 |
1966 |
|
I Corvi |
IT |
45 Ariston AR 0161 |
1966 |
|
Kinita |
SP |
EP Philips 436 824 |
1966 |
sung in Spanish |
Lili Ivanova |
USSR |
LP Melodia |
1967 |
sung in Bulgarian, from "Poet" |
Los Bulldogs |
ARG |
LP RCA Victor LZ-1133 |
1966 |
from "Los Bulldogs" (instrumental) |
Los Mac's |
CH |
LP |
1968 |
from "Los Macs" |
Majda Sepe |
YU |
EP Jugoton EPY 3857 |
1967 |
|
Maritza Fabiani
|
BR |
45 Polydor CSPN 51.000 |
1966 |
sung in Potuguese - lyric by Carlos Wallace |
Milena Cantu |
IT |
45 Clan ACC 24038 |
1966 |
|
Monica |
GER |
Decca 45 D 19 811 |
1966 |
|
Nancy Sinatra |
US |
LP Reprise |
1966 |
from "How Does That Grab You?" |
Petula Clark |
FR |
EP Vogue HV 27 159 |
1966 |
|
Powers Of Blue |
US |
LP MTA 5002 |
1967 |
from "Flip Out" |
Sandy (Posey) |
US |
45 Hit 250(?) |
1966 |
budget "soundalike" - same # as Roamers/Joanne Kay re-issue |
Sheila |
FR |
EP Phillips 437.233 |
1966 |
|
Sophie Renaud |
FR |
45 Panorama Succès n° 14 |
1966 |
|
Stevie Wonder |
US |
LP Tamla 272 |
1966 |
from "Down To Earth" |
Terry Reid |
US |
LP Epic 2647 |
1968 |
from "Bang, Bang You're Terry Reid" |
Xavier Cugat |
US |
LP Decca |
1966 |
from "Bang Bang" |
"BUT YOU'RE MINE"
Benny & Petra |
GER |
45 Columbia 23124 |
1966 |
as "Wir gehen Unser Weg Allein" (Benny Quick & Petra Prinz) |
Patty Pravo |
IT |
45 Arc AN 4097 |
1966 |
as "Ragazzo Triste" |
Sonny & Cher |
FR |
45 Atco 7 / EP Atco 108 |
1966 |
as "Je M'en Balance ( Car je t'aime)" French & English |
Sonny & Cher |
CA |
45 Atco LF 117 |
|
as "Mais Tu Es à Moi" all French lyric |
"I GOT YOU BABE"
Aranbee Pop Symphony Orch.
|
UK |
LP Immediate ILLP/..SP 003 |
1966 |
from "Today's Pop Symphony" |
Benny & Petra |
DE |
45 Columbia 23124 |
1966 |
as "Bleib Bei Mir Babe" (Benny Quick & Petra Prinz) |
Claude Francois |
FR |
EP Philips 437118 BE |
1965 |
as "Je T'ame Trop, Toi", French lyric Francois/Buggy |
Daniela |
YU |
EP PGP 57466 |
1966 |
as "Nasao Sam Te" |
Dora Hall |
US |
45 Reinbeau 5819 |
1966 |
|
Etta James |
US |
45 Cadet 5606 |
1968 |
|
Gidiuli |
IT |
45 Jolly J20349 |
1966 |
as "Sei Contento", sung in Italian |
James Last |
DE |
LP Polydor 104 678 |
1966 |
from "This Is James Last" |
Jonathan & Michelle |
IT |
45 Rifi RFN 16145 |
1966 |
as "Sei Contento" |
Kinita |
SP |
EP Philips 436 374 PE |
1965 |
as "Ya Te Tengo", sung in Spanish |
Lions, The |
DK |
LP Triola TDI 211 |
1966 |
from "Many Sides of Lions" |
Los Salvajes |
SP |
EP Regal-EMI SEDL 19.481 |
1966 |
as "Ya Te Tengo", sung in Catalan |
Majestics w/ Jackie Gabriel |
US |
LP Arc 780 |
1968 |
from "Here Come Da Judge"
|
Michèle Richard & Gilles Brown |
CA |
LP Trans-Canada – TF-352 |
1966 |
as "Nous On S'Aime" |
Manfred Mann |
UK |
EP 7EG 8949 |
1966 |
instrumental, from "Instrumental Asylum" |
Tania Velia |
SP |
EP Belter 51603 |
1966 |
as "Ya Te Tengo", sung in Catalan |
Those Fantabulous Strings |
US |
LP Metro M/MS 557 |
1965 |
inst.,from "...play The Sonny & Cher Hits" |
Tiny Tim |
US |
LP (OST) Columbia OS 3240 |
1969 |
from "You Are What You Eat", with E. Barooshian (ex-Cake) |
Wayne & Dee |
US |
45 Hit 221 |
1965 |
budget "soundalike" |
"IT'S GONNA RAIN"
Camel Drivers |
US |
45 Top Dog 100 |
1965 |
|
Gentleman June" Gardner |
US |
45 Emarcy 4050 |
1966 |
inst |
Those Fantabulous Strings |
US |
LP Metro M/MS 557 |
1965 |
inst.,from "...play The Sonny & Cher Hits" |
B.J. And The Profits |
US |
Uptown 705 |
1965 |
as "It's Gonna Rain Outside" arr prod Sonny Bono |
"IT'S THE LITTLE THINGS"
Nanette & Tony Roman |
CN |
45 Canusa 355 |
1968 |
as "Les Petites Choses" |
Sonny & Cher |
IT |
45 Atlantic 02005 |
1967 |
as "Caro Cara" in Italian |
"JUST YOU"
Akim |
FR |
45 Phillips B 373.654 F |
1965 |
as "Pas Sans Moi", also EP 437.121 |
Betty Wright |
US |
LP Atco SD 33-260 |
1968 |
from "My First Time Around" |
Jonathan & Michelle |
IT |
45 Rifi RFN 16146 |
1966 |
as "Ancora Sempre E Solo Te" |
Those Fantabulous Strings |
US |
LP Metro M/MS 557 |
1965 |
inst., from "...play The Sonny & Cher Hits" |
Thursdays Children |
UK |
45 Piccadilly 7N 35276 |
1966 |
|
"LAUGH AT ME"
I Ragazzi Del Sole |
IT |
45 Jolly 20359 |
1966 |
as "Non Ridere Di Me", sung in Italian |
Les Guerrieres |
CA |
45 Fantastic 3643 |
1965 |
as "A La Meme Heure" |
Mott The Hoople |
UK |
LP Island ILPS 9108 |
1969 |
from "Mott The Hoople" |
Sheila |
FR |
45 Phillips B 373.665 F |
1965 |
as "A La Meme Heure" |
Those Fantabulous Strings |
US |
LP Metro M/MS 557 |
1965 |
inst., from "...play The Sonny & Cher Hits" |
"LITTLE MAN"
Berti (Glockner)
|
DE |
45 Polydor 52 758 |
1966 |
as "Immer Nur Die Ander'n" |
Bisera Veletanlic |
YU |
EP PGP RTB 50236 |
1967 |
as "Decac Taj" |
Dalida |
FR |
EP Barclay 71064 |
1966 |
as "Petit Homme", remixed 2001 |
Dalida |
IT |
LP Barclay-RCA |
1967 |
as "Piccolo Ragazzo", from same-titled LP |
Djordje Marjanovik |
YU |
EP |
1968 |
as "Mali Covek", sung in Serbian |
Durcy Denis |
MX |
|
|
|
Erick Saint-Laurent |
FR |
EP Barclay 71071 |
1967 |
as "Les Enfants Qui Jouent" |
Franck Pourcel |
FR |
LP |
1967 |
as "Hombrecito", from "Amor, Bailes y Violines #6" |
Fiammetta |
IT |
45 Bluebell 2004 |
1967 |
|
I Rogers |
IT |
45 Kansas 1023 |
1966 |
as "Piccolo Ragazzo" |
James Last |
DE |
LP Polydor |
1967 |
from "Sax a GoGo" |
Milva |
IT |
45 Ricordi SRL 10446 |
1966 |
|
Radmila Karaklagic |
YU |
EP Jugoton EPY 3749 |
1967 |
as "Da Si Tu" |
Nanette et Tony Roman |
CN |
45 Canusa 309 |
1967 |
as "Petit Homme" |
Sonny & Cher |
FR |
EP Atco 117 |
1966 |
as "Petit Homme" |
Sonny & Cher |
IT |
45 Atlantic 90195 |
1966 |
as "Little Man (versione italiana)" |
Tulla
|
FIN |
45 HMV TJ-364 |
1967 |
as "Pieni Mies" (Finnish) |
Tony Dallara |
IT |
45 CBS 2540 |
1967 |
|
"MAMA"
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Cher |
IT |
45 Liberty 9016 |
1967 |
sung in Italian |
Dalida |
FR |
45 Barclay M 944 |
1967 |
sung in French |
Dalida |
IT |
45 Barclay BN 7013 |
1967 |
sung in Italian |
Dalida |
DE |
|
1967 |
sung in German |
Danny |
FN |
45 Scania KS 747 |
1968 |
as "Tahdon (Kuunnella Neuvoja Aidin)" |
Larisa Mondrusa aka Larissa |
USSR |
|
1967 |
sung in Russian |
Paul Mauriat |
FR |
LP Philips PHS 600 248 |
1968 |
from "Blooming Hits" |
Sonia |
IT |
45 Voce Del Padrone MQ 2088 |
1967 |
|
"SING C'EST LA VIE"
Agnetha Fältskog & Jörgen Edman |
SW |
45 Cupol 239 |
|
as "Sjung denna sång" |
Frank Alamo |
FR |
EP Riviera 231.120 |
1965 |
sung in French |
Freddie & The Dreamers |
UK |
LP Columbia SX 6177 |
1967 |
from ""King Freddie..." |
Glenda Collins |
UK |
originally unreleased |
1965 |
from "This Little Girl's Gone Rockin'" CD |
Gus Backus |
DE |
45 Polydor 52 740 |
1966 |
|
Maurice Dean / Orch |
DE |
LP Saba – SB 15 075 |
1966 |
from "Songs International" |
Marco Rimo |
BE |
EP MB Expo |
1966 |
|
Raymond Siozade |
FR |
LP Riviera 7615 |
|
from "Tout Le Monde Danse" |
Raymond Le Sénéchal |
FR |
LP Disques Vogue LVX 6930 |
1966 |
from "28 Super Succès" |
Those Fantabulous Strings |
US |
LP Metro M/MS 557 |
1965 |
inst., from "...play The Sonny & Cher Hits" |
"THE BEAT GOES ON"
| Boogaloo Joe Jones |
US |
LP Prestige PR 7557 |
1967 |
from "Introducing The Psychedelic Soul Jazz Guitar of Joe Jones" |
| Booker T & The MGs |
US |
LP Stax 724 |
1968 |
inst.,from "Doin' Our Thing" |
Buddy Rich Big Band
|
US |
LP Pacific Jazz 10117 |
1967 |
from "Big Swing Face" (live), vocal Cathy Rich |
| Bobby & Connie |
US |
45 Hit 281 |
1967 |
budget "soundalike" |
| Gabor Szabo |
US |
LP Impulse A(S)-9146 |
1967 |
from "The Sorcerer" |
| Golden Kids |
CZ |
LP Supraphon 0665 |
1969 |
from "Micro Magic Circus" |
| Herbie Mann |
US |
LP Atlantic SD 1483 |
1967 |
inst.,from "The Beat Goes On" |
| Inga (Rumpf) |
DE |
45 Decca 19861 |
1967 |
sung in German |
| Kenny Smith |
US |
LP MMO 4073 |
1970 |
feat. Dee Dee Bridgewater |
| La Ragazza 77 |
IT |
45 Ricordi SRL 10.496 |
1967 |
as "Il Beat...Cos'e'", in Italian ("La Ragazza 77" is Ambra Borelli) |
| Lawrence Welk |
US |
45 Dot 17001 |
1967 |
also LP 25790 "Songs Of Our Times" |
| Los Yorsy's |
ME |
45 & EP Musart |
? |
as "El Ballet Hippie", sung in English |
| Marthe Fleurant |
CA |
45 Choc 059 |
1967 |
as "Tout Continue" |
| Matadors, The |
DK |
? |
1967 |
instrumental |
| Nanette (Workman) |
FR |
EP Festival 19.102 |
1967 |
as "Et Tout Recommence" |
| Rocky Roberts / Airedales |
IT |
LP Durium 77163 |
1967 |
from "A Saboto Sera" |
| Sandy Nelson |
US |
LP Imperial 9345 / 12345 |
1967 |
inst., from "The Beat Goes On" |
| Sonny Criss |
US |
LP Prestige PR 7558 |
1968 |
inst.,from "The Beat Goes On!" |
| Vanilla Fudge |
US |
LP Atco 33-224 |
1967 |
from "Vanilla Fudge" |
| Young-Holt Unlimited |
US |
45 Bruswick 55338 |
1967 |
inst. |
"THE REVOLUTION KIND"
| I Nomadi |
IT |
45 Columbia SCMQ 1926 |
1966 |
as "Come Potete Giudicar" |
"WHERE DO YOU GO"
| Petula Clark |
FR |
45 Vogue FS 45.1339 |
1966 |
as "Que Reste T'il" |
| Terry Knight And The Pack |
US |
LP Lucky Eleven LE-8000 |
1966 |
from "Terry Knight And The Pack" |
| Wildlife, The |
US |
45 Columbia 4-44285 |
1966 |
|
"YOU BETTER SIT DOWN KIDS"
| Cher |
IT |
45 Liberty |
1968 |
as "Bambini Miei Cari" in Italian |
| Donald Height |
US |
45 Jubilee |
1968 |
|
Gary Puckett & The Union Gap
|
US |
LP Columbia CS 9612 |
1967 |
from "Woman Woman" |
| Glen Campbell |
US |
LP Capitol ST/SM 103 |
1968 |
from "Wichita Lineman" |
| Jan Howard |
US |
LP Decca DL-75012 |
1968 |
from "Count Your Blessings Woman" |
| Julie Rogers |
US |
LP Ember NR 5050 |
1970 |
from "Once More With Feeling" |
| Karen Young |
UK |
45 Major Minor 584 |
1968 |
|
| Liza Minnelli |
|
LP A&M SP 4141 |
1968 |
from LP "Liza Minnelli" |
| Pozo Seco Singers |
US |
LP Columbia 9656 |
1968 |
from "Shades Of Time" |
| Raymonde Singers Etcetera |
UK |
LP Decca Phase 4 Stereo |
1969 |
from "Feelin" |
| Roy Drusky |
US |
45 Mercury 72784 |
1968 |
|
| Sammy Davis Jr. |
US |
LP Motown MS 710 |
1970 |
from "Something For Everyone" |
