Sorry, LoveJenni, Denidowi, you both miss the meaning of the song. PS arranged the song as a ballad, it was never intended to be covered this way. RS's voice was hauntingly beautiful, and without all the digital equipment back then, it's amazing she managed to get it all done in the takes. Sometimes people want only what they can't have...is that you?
@VinDcator I disagree with everything you just said, but you are entitled to your opinion. :) Regardless of whether it was intended as a ballad, it's better uptempo in my opinion.
@VinDcator Songs should be remade as many times as artists want to remake them, because it is up to each individual listener to decide which version or versions they want to listen to. A variety of versions gives a listener choice and more opportunity for enjoyment. Obviously, some people, including myself, believe that Linda's version is superior to the original, while others agree with your opinion. That's fine. But to say a cover shouldn't exist because you don't like it is a bit unfair.
THANKS for posting. I only have known LInda Scott from seeing her pic on the back on Santo & Johnny LP's. Great voice. This song sounds much better with a little drive to it, great production, and nice horn line. I'll have to look for more of her songs.
@denidowi How do you explain Ronnie Spector of the Ronettes then? She had a small wavering voice which was helped by large productions. In fact, many of the girl group productions of the time used wall of sound productions with any voice, girlish, non-girlish, big or small. The reason that this record didn't chart is because very few female singers (besides exceptions like Petula Clark and the Supremes) had any success in the mid-60's. The craze for male bands wiped most of them out.
Firstly, I DID say her voice was more suited to early 60's: did I not - which is effectively, precisely what you have said.
Next: wall of sound was primarily a ploy introduced by ABBA - though it had been used before but highly sparingly. The point is this track certainly did not use it ;)
Next: If only Supremes broke into the 60's, how do you explain the delicious Sany Posey [Born a Woman & Single Girl etc]?? - LOVELY Girlish voice.
@ILoveJenni47 Sandy Posey, Sandy Shaw, Shirley Bassey - big voice, big orchestra, Cilla Black - big voice => big orchestra, Tina Turner, Lulu, Nancy Sinatra - had a #1 here for 6-8 weeks, Liv Maesson, Dinah Lee from NZ, Judith Durham - lead with the Seekers - a group that KILLED the 60's, the French girl Francois Hardy - nice soft voice... Jenni, the list is ENDLESS!
The point is the Production has to suit the voice. The track is poorly engineered for the lovely voice - that is the failure.
@denidowi I supposed I should have specified that I am referring to singers in the U.S. Female singers in the U.S. had a tough time on the charts in the mid-60's. Several of the singers you mentioned were more popular in other countries, so I should have specified that. If you count the number of male and female singes on the charts during the mid-60's, you will find it was overwhemingly male. Sandy Posey was great, but she really only had a few hits.
@ILoveJenni47 Sorry about the spelling mistakes in my last message. I didn't proofread before I posted it. Most people would tell you that the "wall of sound" was created by Phil Spector in the '60's. ABBA created a different kind of big sound. I also think the production on Linda Scott's "You Baby" is perfect for the song, and I think Linda's voice fits in very well. Compare it to the sluggish and ineffective production on the Ronettes version which slows the song to a halt at parts.
@ILoveJenni47 The sound is just too overwhelming for her voice.
Also, the key is too low for her to project her voice properly. It has to raise a few tones to suit her projection. Those drums are too heavy for her sound ... the backing vocals overwhelm her volume in many places and parts of the timing of instrumental support sounds somewhat messy. There is no vocal overlay for her voice. This particular track needs some major overhaul on presentation.
@ILoveJenni47 Also, PLENTY of black girls there in the States in 60's ... Nancy Wilson, Aretha Franklin, Tina Turner, and various others. I think the Yanks were trying to work big orchestral sound that some UK pairs and singles were using. Also 4 Seasons style productions momentum carry over probably, as 4 seasons were the most successful group over there.
This song was written by Barry Mann and Cynthia Weil. I had never heard it by anyone until I the 1990s. Eventually, I heard this version, the one by the Ronettes, and ones by the Lovin' Spoonful and Len Barry. I have heard that Sonny and Cher also recorded it, but I have never heard their version. Not to be confused with a different song with the same title from the same time period written by Steve Barri and P.F. Sloan that was a hit by the Turtles.
U BABY...rll...<3
davidsbabygirl58 1 month ago
ｱｲﾄﾞﾙ歌手､ﾘﾝﾀﾞ･ｽｺｯﾄの最高のﾛﾈｯﾂ･ｶﾊﾞｰ"YOU BABY"～永遠なりﾊﾞﾘ･ﾏﾝ&ｼﾝｼｱ･ｳｪﾙ
blackandtanful 5 months ago in playlist YouTube Mix for Linda Scott
Luv it! I didn't know this recording of hers! Great!
rcentinella 6 months ago
ﾛﾈｯﾂのｶﾊﾞｰだネ～アイドル､ﾘﾝﾀﾞ･ｽｺｯﾄの"YOU BABY"～大好きなﾊﾞﾘｰ･ﾏﾝ&ｼﾝｼｱ･ｳｪﾙの名曲!
blackandtanful 7 months ago
This is way too fast. Listen t Joe Butler sing this with the Lovin' Spoonful, just the right tempo for the sentiment.
harvey1954 10 months ago
Sorry, LoveJenni, Denidowi, you both miss the meaning of the song. PS arranged the song as a ballad, it was never intended to be covered this way. RS's voice was hauntingly beautiful, and without all the digital equipment back then, it's amazing she managed to get it all done in the takes. Sometimes people want only what they can't have...is that you?
VinDcator 1 year ago
@VinDcator I disagree with everything you just said, but you are entitled to your opinion. :) Regardless of whether it was intended as a ballad, it's better uptempo in my opinion.
ILoveJenni47 1 year ago
@ILoveJenni47 My point was that songs, like movies, should not be remade, simply because they can be. This cover is proof of that.
VinDcator 1 year ago
@VinDcator Songs should be remade as many times as artists want to remake them, because it is up to each individual listener to decide which version or versions they want to listen to. A variety of versions gives a listener choice and more opportunity for enjoyment. Obviously, some people, including myself, believe that Linda's version is superior to the original, while others agree with your opinion. That's fine. But to say a cover shouldn't exist because you don't like it is a bit unfair.
ILoveJenni47 1 year ago
@VinDcator OK, you win. See how easy life can be?
VinDcator 1 year ago
@VinDcator A Real rare one on KAPP circa `65. The best thing Linda Scott ever did in my opinion.
wynonie 5 months ago
THANKS for posting. I only have known LInda Scott from seeing her pic on the back on Santo & Johnny LP's. Great voice. This song sounds much better with a little drive to it, great production, and nice horn line. I'll have to look for more of her songs.
MarkinDC 1 year ago
It's got a very "Phil Spector" sound, this one. Am I right, was it produced by Phil Spector?
Strawberry7Lynn 1 year ago
@Strawberry7Lynn No, but a lot of productions used his ideas back then, so it's definitely directly influenced by his sound.
ILoveJenni47 1 year ago
@Strawberry7Lynn
It's a cover of a Ronettes song, though, written with Barry Mann and Cynthia Weil ("Walking in the Rain").
dogkelp 7 months ago
The sound was too big for her more girlish voice.
Her voice suited late 50's early 60's
denidowi 1 year ago
@denidowi How do you explain Ronnie Spector of the Ronettes then? She had a small wavering voice which was helped by large productions. In fact, many of the girl group productions of the time used wall of sound productions with any voice, girlish, non-girlish, big or small. The reason that this record didn't chart is because very few female singers (besides exceptions like Petula Clark and the Supremes) had any success in the mid-60's. The craze for male bands wiped most of them out.
ILoveJenni47 1 year ago
@ILoveJenni47 Now you got me tickledROFL!!!!
Firstly, I DID say her voice was more suited to early 60's: did I not - which is effectively, precisely what you have said.
Next: wall of sound was primarily a ploy introduced by ABBA - though it had been used before but highly sparingly. The point is this track certainly did not use it ;)
Next: If only Supremes broke into the 60's, how do you explain the delicious Sany Posey [Born a Woman & Single Girl etc]?? - LOVELY Girlish voice.
denidowi 1 year ago
@ILoveJenni47 Sandy Posey, Sandy Shaw, Shirley Bassey - big voice, big orchestra, Cilla Black - big voice => big orchestra, Tina Turner, Lulu, Nancy Sinatra - had a #1 here for 6-8 weeks, Liv Maesson, Dinah Lee from NZ, Judith Durham - lead with the Seekers - a group that KILLED the 60's, the French girl Francois Hardy - nice soft voice... Jenni, the list is ENDLESS!
The point is the Production has to suit the voice. The track is poorly engineered for the lovely voice - that is the failure.
denidowi 1 year ago
@denidowi I supposed I should have specified that I am referring to singers in the U.S. Female singers in the U.S. had a tough time on the charts in the mid-60's. Several of the singers you mentioned were more popular in other countries, so I should have specified that. If you count the number of male and female singes on the charts during the mid-60's, you will find it was overwhemingly male. Sandy Posey was great, but she really only had a few hits.
ILoveJenni47 1 year ago
@ILoveJenni47 Sorry about the spelling mistakes in my last message. I didn't proofread before I posted it. Most people would tell you that the "wall of sound" was created by Phil Spector in the '60's. ABBA created a different kind of big sound. I also think the production on Linda Scott's "You Baby" is perfect for the song, and I think Linda's voice fits in very well. Compare it to the sluggish and ineffective production on the Ronettes version which slows the song to a halt at parts.
ILoveJenni47 1 year ago
@ILoveJenni47 The sound is just too overwhelming for her voice.
Also, the key is too low for her to project her voice properly. It has to raise a few tones to suit her projection. Those drums are too heavy for her sound ... the backing vocals overwhelm her volume in many places and parts of the timing of instrumental support sounds somewhat messy. There is no vocal overlay for her voice. This particular track needs some major overhaul on presentation.
denidowi 1 year ago
@ILoveJenni47 Also, PLENTY of black girls there in the States in 60's ... Nancy Wilson, Aretha Franklin, Tina Turner, and various others. I think the Yanks were trying to work big orchestral sound that some UK pairs and singles were using. Also 4 Seasons style productions momentum carry over probably, as 4 seasons were the most successful group over there.
Mowtown succeeded there I believe.
denidowi 1 year ago
sounds like a 60's girl group phil spector production. cant Imagine why it did'nt chart. sounds like a for sure hit. I like it.
TheBabyboomkidof53 1 year ago
Cousin Bruce Morrow, WABC DJ sitting next to her, has more hair now!
doctordoowop 1 year ago
@doctordoowop Gosh I saw him at the Yellow submarine premire in Stamford CT
MusikAndLuv 1 year ago
listen out for the version by JACKIE TRENT its brilliant.
davidwalsh66 1 year ago
This song was written by Barry Mann and Cynthia Weil. I had never heard it by anyone until I the 1990s. Eventually, I heard this version, the one by the Ronettes, and ones by the Lovin' Spoonful and Len Barry. I have heard that Sonny and Cher also recorded it, but I have never heard their version. Not to be confused with a different song with the same title from the same time period written by Steve Barri and P.F. Sloan that was a hit by the Turtles.
rslitman 2 years ago
@rslitman The best version is the Jerry Ross produced version by Honey Love and the Love Notes, who were Candy and the Kisses under a different name.
leigy 2 years ago
Linda Scott was a very good singer, and is underrated today.
VealParmigiana 2 years ago 5
fabulous
hiboz 2 years ago