C O V E R M E - "CALL ME"
Tony Hatch
Throughout the mid to late 60s, Tony Hatch was one of pop music's most prolific
composers; often referred to as Britain's Burt Bacharach. Hatch predominantly wrote
and produced for his muse, Petula Clark. Together they created an impressive string of
hits in the UK, as well as in America - the most recognizable being, "Downtown."
In 1965 Hatch wrote a song entitled, "Call Me," and it would go on to be covered by a myriad of artists.
This song is the subject of this blog post.
"If you're feeling sad and lonely
There's a service I can render"
Initially recorded by Petula Clark; her recording of "Call Me" did reasonably well in the UK, but it wasn't until Herb Alpert (co-founder of A&M Records) convinced his signed artist, Chris Montez, to
try a different musical direction that the song took off.
"Tell the one who loves you only
I can be so warm and tender"
In 1962 Montez had a top 5 hit with his record, "Let's Dance," and for the next few years he continued with the same Latin rock style until Herb Alpert suggested he try a softer ballad approach. Montez agreed and recorded his cover of "Call Me" in November of 1965, which was included in his album titled, The More I See You.
"Call me, don't be afraid, you can call me Maybe it's late, but just call me"
By January, 1966, Montez's cover of "Call Me" was a hit: rising to #22 on the
Billboard Pop Chart and #2 on the Easy Listening Chart. In the months and years to
follow there would be an abundance of "Call Me" covers by various artists.
By 1966, Brenda Lee had nearly ten years of phenomenal international success behind her. Based on the U.S. Billboard Pop Charts, she'd racked up two #1 records, nine Top 10, four Top 20, and nine in
the Top 40. 1966 would be the year she recorded her last major charting record. "Coming On Strong" would just barely miss the Top 10, stalling out at #11. An album by the same name was released in the fall of '66, and the eleven additional tracks included ballads and several popular songs;
one of which was an impressive cover of "Call Me." Beautifully arranged;
Lee wrings every last drop out of each note. It's not to be missed!
"When it seems your friends desert you
There's somebody thinking of you"
There's somebody thinking of you"
Being the daughter of Frank Sinatra never hurt anyone looking for a career in the entertainment business. After several years of trying to land a hit record, Nancy Sinatra finally struck gold
in 1965 with "These Boots Are Made For Walking." It was a monster, #1 hit - written and produced by
Lee Hazelwood - and in an effort to duplicate that success, her next release would be another Hazelwood composition called, "How Does That Grab You?" Despite the fact that it was obviously
a shameless reworking of "These Boots Are Made For Walking," it managed to make the Top 10;
rising to a respectable #7 position. In order to capitalize on the success of this, her second hit, Hazelwood was again called upon to produce an album by the same name. It was released in 1966,
and included among the eleven tracks was Sinatra's smooth and sultry cover of "Call Me," featuring
a romantic, breezy, guitar-driven arrangement. Her version - in my opinion - was good enough to
have been released as a single. Do not miss it!
"I'm the one who'll never hurt you
Maybe that's because I love you"
Maybe that's because I love you"
Like his daughter, Frank Sinatra was so impressed with the Hatch composition that
he decided to include it as a track on his 1966 album, Summer Wind. The single by the
same name ("Summer Wind") was the follow-up to his incredibly successful recording of
"Strangers In The Night," which claimed the number 1 spot on the Billboard Pop Chart
(U.S. and UK) and the U.S. Easy Listening Chart. For his efforts, Sinatra would be awarded the
Grammy for Best Male Pop Vocal Performance. The single, "Summer Wind," would show up respectably on the Billboard Pop Chart at #25 and take the coveted #1 spot on the Easy Listening Chart. On the Summer Wind album, his classic crooner-style rendition of
"Call Me" is unmistakably Sinatra.
"Call me don't be afraid, you can call me
Maybe it's late, but just call me"
Maybe it's late, but just call me"
Throughout the sixties, Joanie Sommers' voice could be heard everywhere. If it wasn't her singing memorable jingles for Pepsi-Cola, it was her Top 10, 1962 hit, "Johnny Get Angry." But that song was a silly rarity for a career that consisted mainly of jazz standards featuring lush arrangements, for which her vocal abilities were highly respected. Her 1966 album, Come Alive, was a collection of pop ballads which featured her big, jazz vocals, backed with a big band sound. One of those ballads was "Call Me," on which her delivery is bouncy, breezy, and quite enjoyable.
"Tell me and I'll be around
Now, don’t forget me, 'cause if you let me"
Now, don’t forget me, 'cause if you let me"
You couldn't find a more successful early 60's pop star than Bobby Vinton. By 1966 he'd reached the coveted #1 spot on the Billboard Pop Chart four times; recorded two Top 10 singles, and placed four records in the Top 20. The fourth of those Top 20 records was "Coming Home Soldier," which rose to #11 in 1966, and was included in Vinton's album from that year entitled, Bobby Vinton Sings The Newest Hits. The album consisted of this one hit and a collection of other pop music covers; one of which was "Call Me."
"I will always stay by you
You gotta trust me that's how it must be"
By 1966, Donna Loren was a very familiar face on American television and film. She was the representative for Dr. Pepper's youth campaign and she was a regular on the popular music television show, Shindig! Along with that, she'd appeared in a series of successful "beach party" movies, but the one thing that had eluded her was a hit record. She'd signed with the independent,
L.A. label, Challenge Records in 1962, but after six singles that went nowhere, she was released in
1963. Capitol picked her up in 1964, and in late '65 Jack Nitzsche was brought in as arranger for Loren's cover of "Call Me," which would be released as a single. Loren's version was a departure
from her lower range, mature-voiced recordings; this record featured a softer, higher register side of
her voice and is quite romantic, sensual, and sexy. I've attached a video performance from a
1966 episode of Dick Clark's popular television show, Where The Action Is;
watch it and you'll see what I mean by sexy.
"There’s so much that I can do"
By 1968, Al Martino's big hit-making days were behind him, but that didn't stop him from releasing a collection of pop covers on an album called, Love Is Blue. The album included a track by the same name that was released as a single that year, and it rose to #57 on the Pop Chart. One of the additional songs on the album was "Call Me," sung in Martino's signature, Italian crooner style.
"If you call, I'll be right with you
You and I should be together"
You and I should be together"
Between 1964 and '65 Lulu managed to place two records in the UK Top 10; in 1966 she decided to try her hand at the much-covered, Tony Hatch composition, "Call Me." It didn't chart for her, but it's a rollicking rendition that sounds just the way a swingin' English teenager should've sounded in mid-sixties London. As we all know, her career would skyrocket the following year with the song,
"To Sir With Love."
"Take this love I long to give you
I'll be at your side forever"
I'll be at your side forever"
Best known to American audiences for her 1965, Top 10 hit, "Goldfinger," Shirley Bassey has long
been known the world over for her powerful, theatrical voice. When compiling a collection of
songs for her 1968 album, 12 Of Those Songs, it was decided that she'd include her jazz
rendition of "Call Me." Her take on it is uniquely her style.
"Call me don't be afraid, you can call me
Maybe it’s late, but just call me"
Maybe it’s late, but just call me"
Brian Hyland burst onto the pop music scene in a big way with his 1960, number 1 hit, "Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini." After stumbling around for a couple of years with a string of low-charting records, he struck gold again with, "Sealed With A Kiss," in 1962. After a few more years in the pop chart wilderness, he released his album, The Joker Went Wild/Run Run Look and See, in 1966. It's often been referred to as his "come back" album, as it was his first time back in the Top 20. Included in this album is his rendition of "Call Me." His pleasant, clear voice makes a respectable showing with this song, which is backed by a simple and uncomplicated arrangement.
"Tell me, and I'll be around"
It never hurts to be married to the songwriter. Jackie Trent was the wife of Tony Hatch and she got to
record her own version of "Call Me." The two collaborated on dozens of songs; some quite popular:
"I Couldn't Live Without Your Love," and "Don't Sleep In The Subway;" both were big hits for Petula Clark. Trent was a gifted singer in her own right; scoring for herself a UK #1 record in 1965
with, "Where Are You Now," another collaboration between her and her husband.
Her treatment of "Call Me" is quite jazzy and features a big band arrangement by Hatch.
"Call me, don't be afraid, you can call me
Maybe it's late, but just call me"
Maybe it's late, but just call me"
Having begun with Benny Goodmen in 1941, Peggy Lee racked up several million-selling
singles over the next 25 years. In 1966 she chose "Call Me" to be one of the 12 tracks on her album,
Guitars a la Lee. This rendition features her inimitable bouncy, jazz vocals.
"Tell me, and I'll be around"
After several years of writing for other people, as well as recording herself, Jackie DeShannon struck pop music gold in 1965 with the Hal David/Burt Bacharach composition, "What The World Needs Now." In 1966 she released and album called, Are You Ready For This? Four of the twelve tracks were written by DeShannon, herself. Most of the remaining tracks are covers, including an upbeat rendition of "Call Me." I was impressed by the rich arrangement; but, in my opinion, her vocals are mediocre at best.
"Now, don't forget me 'cause if you let me
I will always stay by you"
I will always stay by you"
Busting out in a big way, The Foundations had a smash hit record in 1967 called, "Baby Now That I've Found You." The single rose to #1 in the UK / #11 in the U.S., and an album was quickly produced to capitalize on their sudden success. The album included a fresh and contemporary rendition of
"Call Me," unlike any cover before.
"You gotta trust me that's how it must be"
Released in 1966, a Billboard reviewer stated this about Nancy Wilson's album, A Touch Of Today: "Miss Wilson's warmth, feeling and musical understanding highlight new dimensions of today's pop hits." Known for her remarkably versatile abilities to sing pop, rhythm & blues, and jazz; by '66 she'd settled into recording predominantly jazz vocals. This album is an interesting collection of covers from various current artists of the day: Stevie Wonder, The Beatles, Little Anthony & the Imperials, and The Fortunes. Along with those, she also includes a swingin' rendition of "Call Me."
"There's so much that I can do"
By 1971, Diana Ross had left The Supremes to pursue a solo career, and Jean Terrell had been brought in to take over the lead singer duties. For the second time in so many years it had been decided to team up two Motown powerhouse groups - The Supremes and The Four Tops - to record an album. The first of which, The Magnificent Seven, had produced a Top 20 hit with their cover of, "River Deep Mountain High." Berry Gordy was hoping lightening would strike twice when he released their second album, The Return Of The Magnificent Seven. It was not nearly as successful as the first album, but it did contain a very Motown(ish) version of "Call Me."
"If you call, I'll be right with you
you and I should be together"
you and I should be together"
Australia born, Helen Reddy, started out her professional career by winning a talent contest in her home country, and in 1966 she collected her prize: a plane ticket to New York City and the promise of an audition for a recording contract. Although the audition and the contract didn't pan out, along the way she did manage to secure a spot on a television show. The song she chose to sing: "Call Me." While she never recorded the song, I thought her smooth and confident cover of it deserved including in this post. In the clip, you'll recognize the soothing and pleasing voice that the world would eventually fall in love with just a few years later.
"Take this love I long to give you
I'll be at your side forever"
Brazilian born, Astrud Gilberto, exploded on the pop music scene in 1964 with her million-selling single, "The Girl From Ipanema." Known as the premier bossa nova singer of the mid-sixties; it was that same style she so beautifully applied to her cover of "Call Me," which featured yet another collaboration with fellow Brazilian, Walter Wanderley, and his famous, lounge-style organ. Gilberto's rendition was featured as a track on her 1966 album release, A Certain Smile, A Certain Sadness. This song was a perfect match for her bossa nova/samba style.
"Call me don't be afraid, you can call me
maybe it's late, but just call me"
maybe it's late, but just call me"
The silky smooth jazz stylings of Sarah Vaughan were internationally recognized by 1966, and that was the year her album, The New Scene, was released. It consisted of twelve songs; all covers of hits by others artists, and the chosen selections varied widely; songs from The Beatles, Len Barry, Dean Martin, and others. One of the "others" was the Tony Hatch composition, "Call Me."
"Tell me, and I'll be around"
Now here's a weird one. Tom Wopat is forever remembered by millions as Lucas (Luke) Duke, on the long-running television series, Dukes of Hazzard. But, did you know that he's been recording music since the early 80's? He's a predominantly country and pop music singer and he's actually a reasonably respected vocalist. In 2013 he released an album of standards called I've Got Your Number, and one of the tracks is his jazz-infused rendition of "Call Me." I must say, he's quite good; in fact, I dare to say that even Boss Hogg would approve.
"You gotta call me"
Tony Hatch recorded his orchestra playing various covers with a Latin, jazz flavor on his 1966
album, A Latin Happening. Among the songs on the album that received this treatment was
his own,"Call Me."
"Call me now ..."
Tony Hatch claims that "Call Me" has generated the most revenue of any song he's ever written, including "Downtown."
Tony Hatch was inducted into
The Songwriters Hall of Fame in 2013
Well,
that
just
about
"covers"
it!
