I love both versions of this song. Barrett's bluesy/soul version, and The Beatles straight rock version. The Beatles had a great reverence for Black American Blues music, and I think this one is my favorite. Amazing how one song with the same chord progressions can be interpreted so differently and maintain the same energy.
Richard Barrett has gotten a lot of recognition for what he's done with his work with groups The Teenagers, Chantels and many more and even The Three Degrees. I like you believe he's deserves more.
Leiber & Stoller have stolen more songs than I don't know. They're thieves and should be exposed as thieves.
When he passed Paul McCartney sent a letter to the family.
not only did Leiber&Stoller steal his music so did Gambell & Huff. the family also recieved letters from the Royal family of England. its just messed up because i do know the family and well there is alot more thanks he should have gotten for his talents.
RE: "It seem that the only thing that Leiber/Stoller added to this song was their names."
What makes you think that? You know that many songs written for Aretha Franklin, Herbie Hancock, Quincy Jones, Michael Jackson, etc were actually written by a white guy (Rodney Lynn Temperton) from Cleethorpes, UK. Also, production is extremely important and it is likely that Leiber&Stoller structured this song from a simple 'strummed' sketch. The 'sound' they engineered is actually what makes this record.
This isn't about black or white, it's about truth or lies. Leiber/Stoller like Elvis Presley wouldn't take a song unless they could have their names on the copywrite. Those two stole more song than they wrote.
The 'sound' they engineered doesn't give them copywrite credit. George Martin engineered most of the Beatles songs, when have you ever seen a Lennon/McCartney & Martin copywrite.
Well, I'm not sure that's right anyway. Playing notes on an instrument or writing lyrics is not necessarily more difficult or creative than production. Perhaps they SHOULD have their names on the copyright, or maybe "arr.Leiber/Stoller" (arranged by). But actual composition does enter the production process and may even involve suggestions for new parts & lyrics. Most successful producers are happy to let the musicians take credit for the 'song' as it exists in the final cut...
...but I can see why -if a musician comes into a studio strumming a guitar with a few lyrics- that it might be a bit much to let him take full credit for a final 'grand orchestration'. I think this is worse that a songwriter can take credit over the whole repertoire because they wrote the lyrics and some melodic sketches. What about the bass line, rhythmic patterns, guitar riffs, production? Often, copyright should be split 30%-70%, with 70% split between the band, or 60%-40% for printed scores.
People are given credit for arrangement and score, but they have NO claim to the song. The Beatles's Yesterday is beautiful with the George Martin orchestration and arrangement, but doesn't need it to be a complete song. The split should be 100%-0% with 100% going to the song writer.
The printed music should be 100%-0% in favour of the songwriter, but if a cover by someone else uses ideas from the recorded version, I don't agree. Again, you'd be surprised how much actual composition (tones, harmonies, etc) is added or altered by producers. This idea of 'fat cat' money-grabbing producers living off poor, innocent 'celestial musicians' is something of a cartoon. Obviously, it does happen, but many producers help musicians find their 'voice'...
...I'm more annoyed with the public for ignoring some of the greatest musicians in history until they're dead and gone, thus driving many of them into a life of poverty and early death. On the other hand, the obscene amount of money going to such cheesy and naff popular music today is also infuriating... and it will get worse still. Recordings will soon be worth almost nothing at all!
@jeminijem1 On which songs is Presley credited as composer? What I heard is that when he found out that he'd been co-credited on an early tune he was furious and had it removed. Elvis had integrity. He was not a cheat. Unfortunately, "Colonel" Parker was a different story.
Barret already had the hit making skills from his work with George Goldner. Frankie Lymon, Little Anthony, The Channels, The Isley Brothers, The Chantels and many many more had his experience at making a "sound". Leiber& Stoller probably added very little for a man who was considered a genius in the New York record market.
Yeah. Sorta like Hound Dog... which was done first by Big Mama Thorton but was forgot about for decades when Elvis did it. Leiber and Stoller claimed rights to it.
Barrett was one of the worst human beings on the planet.
denplanet1 3 months ago in playlist YouTube Mix for Richard Barrett
Love it!!!!
sleepytimegalz 5 months ago
This son buries "What'd I Say" I love Ray Charles but Ritchie's spin on this baseline trumps What'd I Say.
DontPAss2JOE 11 months ago
"Sh"om other guy.
SlappyFrankenstein 2 years ago
I loved Richie Barrett singing 'SUMMER'S LOVE". It was the greatest slow ballard. Somebody post it PLEASE.
Summer is here, I need you so, we'll be together once more I know...........
VTERRELL 2 years ago
I love both versions of this song. Barrett's bluesy/soul version, and The Beatles straight rock version. The Beatles had a great reverence for Black American Blues music, and I think this one is my favorite. Amazing how one song with the same chord progressions can be interpreted so differently and maintain the same energy.
sillyboy173 2 years ago
Barrett was a great lead singer of a NYC doo wop group, the Valentines, who 1st sang with them in 1953.
doctordoowop 3 years ago
richard barrett was an amazing singer songwriter. he's no longer with us, but he deserves much more recognition than he has gotten.
scorpioSOS 3 years ago 6
Richard Barrett has gotten a lot of recognition for what he's done with his work with groups The Teenagers, Chantels and many more and even The Three Degrees. I like you believe he's deserves more.
Leiber & Stoller have stolen more songs than I don't know. They're thieves and should be exposed as thieves.
When he passed Paul McCartney sent a letter to the family.
Nat1831 3 years ago
not only did Leiber&Stoller steal his music so did Gambell & Huff. the family also recieved letters from the Royal family of England. its just messed up because i do know the family and well there is alot more thanks he should have gotten for his talents.
scorpioSOS 3 years ago 2
RE: "It seem that the only thing that Leiber/Stoller added to this song was their names."
What makes you think that? You know that many songs written for Aretha Franklin, Herbie Hancock, Quincy Jones, Michael Jackson, etc were actually written by a white guy (Rodney Lynn Temperton) from Cleethorpes, UK. Also, production is extremely important and it is likely that Leiber&Stoller structured this song from a simple 'strummed' sketch. The 'sound' they engineered is actually what makes this record.
IsaacIsaiahMusic 3 years ago
This isn't about black or white, it's about truth or lies. Leiber/Stoller like Elvis Presley wouldn't take a song unless they could have their names on the copywrite. Those two stole more song than they wrote.
The 'sound' they engineered doesn't give them copywrite credit. George Martin engineered most of the Beatles songs, when have you ever seen a Lennon/McCartney & Martin copywrite.
jeminijem1 3 years ago 4
Well, I'm not sure that's right anyway. Playing notes on an instrument or writing lyrics is not necessarily more difficult or creative than production. Perhaps they SHOULD have their names on the copyright, or maybe "arr.Leiber/Stoller" (arranged by). But actual composition does enter the production process and may even involve suggestions for new parts & lyrics. Most successful producers are happy to let the musicians take credit for the 'song' as it exists in the final cut...
IsaacIsaiahMusic 3 years ago
...but I can see why -if a musician comes into a studio strumming a guitar with a few lyrics- that it might be a bit much to let him take full credit for a final 'grand orchestration'. I think this is worse that a songwriter can take credit over the whole repertoire because they wrote the lyrics and some melodic sketches. What about the bass line, rhythmic patterns, guitar riffs, production? Often, copyright should be split 30%-70%, with 70% split between the band, or 60%-40% for printed scores.
IsaacIsaiahMusic 3 years ago
People are given credit for arrangement and score, but they have NO claim to the song. The Beatles's Yesterday is beautiful with the George Martin orchestration and arrangement, but doesn't need it to be a complete song. The split should be 100%-0% with 100% going to the song writer.
jeminijem1 3 years ago 2
The printed music should be 100%-0% in favour of the songwriter, but if a cover by someone else uses ideas from the recorded version, I don't agree. Again, you'd be surprised how much actual composition (tones, harmonies, etc) is added or altered by producers. This idea of 'fat cat' money-grabbing producers living off poor, innocent 'celestial musicians' is something of a cartoon. Obviously, it does happen, but many producers help musicians find their 'voice'...
IsaacIsaiahMusic 3 years ago
...I'm more annoyed with the public for ignoring some of the greatest musicians in history until they're dead and gone, thus driving many of them into a life of poverty and early death. On the other hand, the obscene amount of money going to such cheesy and naff popular music today is also infuriating... and it will get worse still. Recordings will soon be worth almost nothing at all!
IsaacIsaiahMusic 3 years ago
@IsaacIsaiahMusic It already is.
'Tic Toc' be 'Ke' 'Dollar Sign' 'ha' is a song about how fun it is to be a drunken w*ore.
Beatleboy62 1 year ago
@jeminijem1 It's copyRIGHT, moron.
strandwolf 9 months ago 2
@jeminijem1 On which songs is Presley credited as composer? What I heard is that when he found out that he'd been co-credited on an early tune he was furious and had it removed. Elvis had integrity. He was not a cheat. Unfortunately, "Colonel" Parker was a different story.
strandwolf 9 months ago
Barret already had the hit making skills from his work with George Goldner. Frankie Lymon, Little Anthony, The Channels, The Isley Brothers, The Chantels and many many more had his experience at making a "sound". Leiber& Stoller probably added very little for a man who was considered a genius in the New York record market.
Nat1831 3 years ago
This is a great song. Why is it so hard to find the complete recording?
IsaacIsaiahMusic 3 years ago
Thanks for the comment on my post. If people listen to John they could learn a thing or two!
northerngirl72 3 years ago
Please post his "Summer's Love"
VTERRELL 3 years ago
fuck those two..!
realfuckinggas 3 years ago 4
This number was recorded by 'The Big Three' at the Cavern, Liverpool
bobfunk11 4 years ago
Slightly like Instant Karma? haha. Great jukebox John had there.
jaredgetsacookie 4 years ago
Thanks for posting.
It seem that the only thing that Leiber/Stoller added to this song was their names.
jeminijem1 4 years ago 3
Yeah. Sorta like Hound Dog... which was done first by Big Mama Thorton but was forgot about for decades when Elvis did it. Leiber and Stoller claimed rights to it.
rockabillycat1954 4 years ago