Come Tomorrow (Marie Knight song)
| "Come Tomorrow" | ||||
|---|---|---|---|---|
| Single by Marie Knight | ||||
| B-side | "There's Nothing In The World" | |||
| Released | October 1961 | |||
| Genre | Rhythm and blues | |||
| Length | 2:44 | |||
| Label | Okeh | |||
| Songwriter(s) |
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| Marie Knight singles chronology | ||||
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"Come Tomorrow" is a song written by American songwriters Bob Elgin, Dolores Phillips and Frank Augustus for rhythm and blues singer Marie Knight, who issued it as a single in October 1961 through Okeh Records, a release which received good reviews, though failed to chart. The best known version of the song was recorded by British pop band Manfred Mann, who took it to the top-ten in the United Kingdom in 1965.
Marie Knight version
[edit]The original version of "Come Tomorrow" was cut by singer Marie Knight.[1] Knight, originally from the US, had become important for the blossoming merseybeat scene in the UK, with a visit to the Cavern Club in Liverpool in 1958 bringing her to the attention of the skiffle groups of the time.[2] Despite having recorded for well over ten years by 1961, she had only seen small commercial success.[3] Her best performing single on the Billboard Hot 100 up until that point was a duet with Rex Garvin, "I Can't Sit Down", which had reached number 94 in 1959.[3] In an attempt to get her to record more hits, writers Bob Elgin, Dolores Phillips and Frank Augustus specifically wrote a "pop song" for Knight to record, being "Come Tomorrow"[3]
"Come Tomorrow" was released in October 1961 through Okeh Records.[4] The release of the single was Okeh's first for almost a year, and Epic Records re-activated the label specifically for the single's release.[5] It was backed by "There's Nothing In The World", written by Elgin, Augustus along with Clarence Lewis.[4] Upon release, it received positive reviews in the US press. The staff writer for Billboard calls it a "rich, moving vocal", further stating it to be a "spiritual-favored theme" with "strong emotional impact."[6] In Cash Box, the single was chosen as a pick of the week, calling it a "powerhouse release", claiming that Knight never sounded better than she did on "Come Tomorrow".[7] They write that it may become a hit because of the Latin beat "sporting a beautiful, string-highlighted instrumental showcase."[7]
Despite the positive reviews the single received, it did not chart in the US on neither the Billboard nor Cash Box charts.[3][8] Following the hit version by Manfred Mann, Okeh re-released Knight's original version in March 1965,[9] though it again failed to chart.[3]
Manfred Mann version
[edit]| "Come Tomorrow" | ||||
|---|---|---|---|---|
 Dutch single sleeve | ||||
| Single by Manfred Mann | ||||
| B-side | "What Did I Do Wrong?" | |||
| Released | January 7, 1965 | |||
| Recorded | November 9, 16 & 26, 1964 | |||
| Studio | EMI, London | |||
| Genre | Pop rock | |||
| Length | 2:44 | |||
| Label | His Master's Voice | |||
| Songwriter(s) |
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| Producer(s) | John Burgess | |||
| Manfred Mann UK singles chronology | ||||
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| Manfred Mann US singles chronology | ||||
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Background and recording
[edit]We were working our way through my record collection. I had "Doo Wah Diddy Diddy" by the Exciters, "Sha La La" by the Shirelles, "Oh No Not My Baby" by Maxine Brown and "Come Tomorrow" by Marie Knight. I always had something that we ought to do.[10]
Paul Jones
By the end of 1964, British pop group Manfred Mann had established themselves as a worldwide success.[11] Their breakthrough single, a cover of the Exciters, "Do Wah Diddy Diddy", reached number one in both the United Kingdom and the United States during the autumn of that year.[12][13][14] The follow-up to that single was a cover of "Sha La La" by the Shirelles, which became a top-ten hit in the UK and peaked in the top-twenty across the Atlantic.[12][13][14] This established Manfred Mann with a distinct sound, dominated by the organ performed by keyboardist Manfred Mann.[11]
Like many other songs by Manfred Mann during this era, "Come Tomorrow" was introduced to the band by lead singer Paul Jones, who owned a copy of it.[10] The song differentiates from their contemporary sound in that the organ is not prominent, instead having a flute played by guitarist Mike Vickers mixed high on the song.[15] According to author Greg Russo, Manfred Mann begun recording the song on November 9, 1964, adding overdubs on November 16.[16] However, in the liner notes for their compilation box Down the Road Apiece, it is noted as having been recorded on November 16 with overdubs added on November 26.[17] The sessions also completed other songs, including "What Did I Do Wrong?" which would end up as the B-side.[11] Russo describes the session of the song to have been relaxed, in that "laughing and talking" could be heard on it.[18] The session was produced by John Burgess and took place at EMI Studios in London.[17]
Paul Jones would record a German language vocal track, with lyrics written by Fred Oldörp, specifically for the German market.[18] This release, titled "Weine Nicht" ("Pretty Baby") was released as the B-side to "Sie" ("She") a month after the original version,[19] though it failed to chart.[18]
Release and reception
[edit]Focusing on the success of their recent singles in the United States, the release for "Come Tomorrow" was targeted for that territory through Ascot Records on January 7, 1965.[20][nb 1] It would be released in the United Kingdom the day after on January 8, through His Master's Voice.[19][nb 2] The B-side was "What Did I Do Wrong?", which according to Russo was a "slow blues with nice vibes and sax solos".[18] It followed the standard by Manfred Mann of having an outside writer composing the A-side, while the group themselves would write the B-side.[21] The release of the ballad came as a surprise for many of the group's fans, with Mann stating that "it was a complete break away for us" and that the single gave them the recognition of being the "top Ballroom-draw" in the United Kingdom.[22]
It entered the UK Record Retailer chart on January 20, 1965 at number 26. It would peak at number 4 on February 10, before exiting the chart after nine weeks on March 17 at number 29.[12] In the United States, the song would not enter the Billboard chart until February 20, at a position of number 89.[13] It peaked at number 50 a month later before dropping out of the charts.[13] It fared similar in the other American charts at the time, reaching number 52 in Cash Box,[23] and number 42 in Record World.[24] Russo attributes this lack of chart success to the fact that Manfred Mann did not tour the United States due to costs.[18] It nonetheless did better than "Sha La La" across Europe, though was not as successful as "Do Wah Diddy Diddy".
Charts
[edit]| Chart (1965) | Peak position |
|---|---|
| Australia (Kent Music Report)[25] | 24 |
| Canada Top Singles (RPM)[26] | 20 |
| Finland (Suomen Virallinen)[27] | 30 |
| Ireland (IRMA)[28] | 10 |
| South Africa (Springbok Radio)[29] | 3 |
| Sweden (Tio i Topp)[30] | 14 |
| UK (Fab 40)[31] | 1 |
| UK (New Musical Express)[32] | 4 |
| UK (Record Retailer)[12] | 4 |
| US Billboard Hot 100[13] | 50 |
| US Cashbox Top 100[33] | 52 |
| US Record World 100 Top Pops[34] | 42 |
Notes and references
[edit]Notes
References
- ^ Eagle, Bob; LeBlanc, Eric S. (2013). Blues - A Regional Experience. Santa Barbara: Praeger Publishers. p. 103. ISBN 978-0313344237.
- ^ Leigh, Spencer (2015). The Cavern Club: The Rise of The Beatles and Merseybeat. McNidder and Grace. p. 76. ISBN 978-08-57-16-09-80.
- ^ a b c d e Bronson 1988, p. 516.
- ^ a b Mawhinney, Paul C. (1983). MusicMaster: The 45 RPM Record Directory : 1947 to 1982. Record-Rama. p. 140. ISBN 978-091-09-250-13.
- ^ "Marie Knight Single Brings Back Okeh Label" (PDF). Cash Box (October 28, 1961): 35.
- ^ "Spotlight singles of the week" (PDF). Billboard. No. October 30, 1961. p. 37.
- ^ a b "Pick of the week" (PDF). Cash Box (November 4, 1961): 10.
- ^ Whitburn 2014, p. 257.
- ^ "Record Reviews: Best Bets" (PDF). Cash Box (March 27, 1965): 22.
- ^ a b Kutner, Jon; Leigh, Spencer (2010). 1,000 UK Number One Hits. Omnibus Press. p. 132. ISBN 978-085-71-236-02.
- ^ a b c McGuinness 2007, p. 3.
- ^ a b c d Brown 2000, p. 545.
- ^ a b c d e Bronson 1988, p. 432.
- ^ a b Whitburn 2014, p. 210.
- ^ McGuinness 2007, p. 4.
- ^ Russo 2011, p. 253.
- ^ a b McGuinness 2007, p. 12.
- ^ a b c d e Russo 2011, p. 28.
- ^ a b c Russo 2011, p. 154.
- ^ a b Russo 2011, p. 158.
- ^ Thompson, Gordon (2008). Please Please Me: Sixties British Pop, Inside Out. Oxford University Press. p. 198. ISBN 9780195333183.
- ^ Davis, Sharon (2012). Every Chart Topper Tells a Story: The Sixties. Random House. p. 102. ISBN 978-178-05-741-65.
- ^ "Cash Box Top 100" (PDF). Cash Box (March 6, 1965): 4.
- ^ "100 Top Pops" (PDF). Record World (March 20, 1965): 3.
- ^ Kent, David (2005). Australian Chart Book 1940–1969. Australian Chart Book Pty Ltd, Turramurra, N.S.W. ISBN 0-646-44439-5.
- ^ "Top RPM Singles: Issue 5710." RPM. Library and Archives Canada.
- ^ Nyman, Jake (2005). Suomi soi 4: Suuri suomalainen listakirja (in Finnish) (1st ed.). Helsinki: Tammi. p. 201. ISBN 951-31-2503-3.
- ^ "The Irish Charts – Search Results – Come Tomorrow". Irish Singles Chart.
- ^ "South African Rock Lists Website - SA Charts 1965 - 1989 Acts (M)". Archived from the original on May 21, 2019. Retrieved September 22, 2022.
- ^ Hallberg, Eric; Henningsson, Ulf (1998). Eric Hallberg, Ulf Henningsson presenterar Tio i topp med de utslagna på försök: 1961–74. Premium Publishing. p. 238. ISBN 919727125X.
- ^ "Big L Fab Forty 65 – 7th Feb 1965". Radio London Ltd. Retrieved October 9, 2010.
- ^ "NME Top Thirty" (PDF). New Musical Express. January 31, 1965. p. 5. Retrieved September 22, 2022.
- ^ "Cash Box Top 100" (PDF). Cash Box (March 6, 1965): 4.
- ^ "100 Top Pops" (PDF). Record World (March 20, 1965): 3.
Sources
[edit]- Bronson, Fred (1988). The Billboard Book of Number One Hits. Billboard Publications. ISBN 978-08-511-23-967.
- Brown, Tony (2000). The Complete Book of the British Charts. Omnibus Press. ISBN 0-7119-7670-8.
- McGuinness, Tom (2007). Manfred Mann – Down The Road Apiece - Their EMI Recordings 1963-1966 (CD). EMI Records. 397 2152.
- Russo, Greg (2011). Mannerisms: The Five Phases of Manfred Mann. Crossfire Publications. ISBN 9780979184529.
- Whitburn, Joel (2014). Joel Whitburn's Cash Box Pop Hits, 1952-1996. Record Research. ISBN 978-08-982-020-90.