"Come Tomorrow" | ||||
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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.
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] However, despite having recorded for well over ten years by 1961, she had virtually 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 failed to chart on that release, too. [3]
"Come Tomorrow" | ||||
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![]() 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 UKsingles chronology | ||||
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Manfred Mann USsingles chronology | ||||
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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]
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, although also became a top-ten hit in the UK, only peaked in the top-twenty across the Atlantic. [12] [13] [14] Despite this, it 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 some which would end up as the B-side, "What Did I Do Wrong?" [11] Nonetheless, 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]
Focusing on the success of their recent singles in the United States, the release for "Come Tomorrow" was initially targeted for that territory, with the single being released there 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] Like most of Manfred Mann's singles at the time, it had the same B-side in both the United Kingdom and the United Kingdom, that being "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]
Nonetheless, it entered the Record Retailer chart on January 20, 1965 at a position of number 26. It would peak at number 4 on February 10, before exiting the chart on March 17 at a position of number 29, having spent nine weeks on the chart. [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".
Chart (1965) | Peak position |
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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
References
Manfred Mann were an English rock band, formed in London and active between 1962 and 1969. The group were named after their keyboardist Manfred Mann, who later led the successful 1970s group Manfred Mann's Earth Band. The band had two different lead vocalists, Paul Jones from 1962 to 1966 and Mike d'Abo from 1966 to 1969.
"Do You Believe in Magic" is a song by American rock band the Lovin' Spoonful, written by John Sebastian in 1965. The single peaked at number 9 on the Billboard Hot 100 chart. In 1978, Shaun Cassidy reached the Top 40 with his cover version.
"Quinn the Eskimo (The Mighty Quinn)" is a folk-rock song written and first recorded by Bob Dylan in 1967 during the Basement Tapes sessions. The song's first release was in January 1968 as "Mighty Quinn" in a version by the British band Manfred Mann, which became a great success. It has been recorded by a number of performers, often under the "Mighty Quinn" title.
"Crying in the Chapel" is a song written by Artie Glenn and recorded by his son Darrell Glenn. The song was released in 1953 and reached number six on the Billboard chart.
"Will You Love Me Tomorrow", sometimes known as "Will You Still Love Me Tomorrow", is a song with words by Gerry Goffin and music composed by Carole King. It was recorded in 1960 by the Shirelles at Bell Sound Studios in New York City, and hit number one on the Billboard Hot 100 chart. The song was the first by an African-American all-girl group to reach number one in the United States. It has since been recorded by many other artists including a 1971 version by co-writer Carole King.
"Pretty Flamingo" is a song written by Mark Barkan, which became a hit in 1966 when Manfred Mann's recording of it was released as a single. The single reached number one in the UK Singles Chart on 5 May 1966. Manfred Mann's recording was a minor hit in the United States where it spent eight weeks on Billboard's Hot 100 chart, peaking at number 29 during the week of August 6, 1966. It was also successful in Ireland, and was number one there for four weeks, keeping the Rolling Stones' "Paint It Black" at number two.
"Just Like a Woman" is a song by American singer-songwriter Bob Dylan from his seventh studio album, Blonde on Blonde (1966). The song was written by Dylan and produced by Bob Johnston. Dylan allegedly wrote it on Thanksgiving Day in 1965, though some biographers doubt this, concluding that he most likely improvised the lyrics in the studio. Dylan recorded the song at Columbia Studio A in Nashville, Tennessee in March 1966. The song has been criticized for supposed sexism or misogyny in its lyrics, and has received a mixed critical reaction. Some critics have suggested that the song was inspired by Edie Sedgwick, while other consider that it refers to Dylan's relationship with fellow folk singer Joan Baez. Retrospectively, the song has received renewed praise, and in 2011, Rolling Stone magazine ranked Dylan's version at number 232 in their list of the 500 Greatest Songs of All Time. A shorter edit was released as a single in the United States during August 1966 and peaked at number 33 on the Billboard Hot 100. The single also reached 8th place in the Australian charts, 12th place on the Belgium Ultratop Wallonia listing, 30th in the Dutch Top 40, and 38th on the RPM listing in Canada.
"Do Wah Diddy Diddy" is a song written by Jeff Barry and Ellie Greenwich and originally recorded in 1963, as "Do-Wah-Diddy", by the American vocal group the Exciters. Cash Box described the Exciters' version as "a sparkling rocker that bubbles over with coin-catching enthusiasm" and said that the "great lead job is backed by a fabulous instrumental arrangement." It was made internationally famous by the British band Manfred Mann.
"It's Gonna Work Out Fine" is a song written by Rose Marie McCoy and Joe Seneca. It was originally released by Ike & Tina Turner in 1961 as a single from their album Dynamite! (1962). The record is noted for being their first Grammy nominated song and their second million-selling single after "A Fool In Love".
This is the discography of English rock band Manfred Mann.
"There! I've Said It Again" is a popular song written and published by Redd Evans and David Mann in 1941. In early 1945, Vaughn Monroe and his Orchestra released Victor 20-1637, which reached the number one position on the Billboard's National Radio Airplay chart for five straight weeks, then no.2 for six more weeks, and a total run of 29 weeks. It finished 1945 as the no. 4 record of the year.
"Until It's Time for You to Go" is a song from the 1965 album Many a Mile by Canadian singer-songwriter Buffy Sainte-Marie. Sainte-Marie included a French-language reworking of the song, "T'es pas un autre", on her 1967 album Fire & Fleet & Candlelight. French translation was made by Quebecer songwriter Claude Gauthier.
"Too Late to Worry, Too Blue to Cry" is a 1942 song by Al Dexter. It was recorded on March 18, 1942 at the CBS Studio at Radio Station KNX, Sunset Blvd., Hollywood, California with session musicians Frank Marvin, Johnny Bond and Dick Reinhart. It was released on Okeh records #6718 on February 6, 1944, paired with "So Long Pal". It went to number one on the Folk Juke Box charts for two weeks and stayed on the charts for a total of thirty weeks.
"Daughter of Darkness" is a single by Tom Jones released in 1970 from his album, I Who Have Nothing. The single was a top ten hit in the UK, peaking at number five. In the United States and Canada, Jones just missed the top ten with "Daughter of Darkness", peaking at number 13 and number 11, respectively. The song went to number one in the United States on the Billboard Easy Listening chart in June 1970, and was Tom Jones final of three number ones on the chart. Elton John, who was working as a session musician at that time, also sang on the song.
"I Just Can't Help Believing" is a song written by Barry Mann and Cynthia Weil.
"My Little Red Book" (occasionally subtitled "(All I Do Is Talk About You)") is a song composed by American songwriter Burt Bacharach with lyrics by Bacharach's songwriting partner Hal David. The duo were enlisted by Charles K. Feldman to compose the music to Woody Allen's film What's New Pussycat? following a chance meeting between Feldman and Bacharach's fiancé Angie Dickinson in London. "My Little Red Book" was composed in the time of roughly three weeks together with several other songs intended for the movie. Musically, the song was initially composed in the key of C major, largely based on a re-iterating piano riff performed. David's lyrics tells the tale of a distraught lover, who after getting dumped by his girlfriend browses through his "little red book" and taking out several girls to dance in a vain effort to get over her.
"Ha! Ha! Said the Clown" is a song written by Tony Hazzard, first recorded by British pop group Manfred Mann. Hazzard claims the song "came out of the blue" though he did not demo it for weeks. Following recording a demo, he approached manager Gerry Bron, who liked it enough to want one of his groups, Manfred Mann, to record it. Manfred Mann recorded their version of the single on 10 February 1967 at Philips Studio in Marble Arch, London, together with producer Shel Talmy. It was the second of three singles Manfred Mann recorded to feature the Mellotron.
"Stormy" is a hit song by the Classics IV released on their LP Mamas and Papas/Soul Train in 1968. It entered Billboard Magazine October 26, 1968, peaking at #5 on the U.S. Billboard Hot 100 chart and #26 Easy Listening. The final line of the chorus has the singer pleading to the girl: "Bring back that sunny day". The single, along with the prior release of "Spooky" and, soon after, the release of "Traces", formed a trio of solid hits for the band.
The Five Faces of Manfred Mann is the debut British and second American studio album by Manfred Mann. It was first released in the United Kingdom on 11 September 1964 by His Master's Voice. In late October/early November, the album was released in Canada by Capitol Records. The Canadian track listing was almost the same as the UK version, except it included the hit "Do Wah Diddy Diddy" instead of "I've Got My Mojo Working". The record has been called "one of the great blues-based British invasion albums; it's a hot, rocking record that benefits from some virtuoso playing as well".
"Semi-Detached, Suburban Mr. James" is a song written by songwriters Geoff Stephens and John Carter, recorded by English pop group Manfred Mann in 1966. Stephens and Carter, who were writers for a publishing company on Denmark Street, London, wrote the song in a style different from their usual compositions, as love was not the prevalent theme. Introduced to the song by producer Shel Talmy, Manfred Mann recorded it at Philips Studio in August 1966. Released by Fontana Records on 21 October 1966, the song was backed by drummer Mike Hugg's composition "Morning After The Party" as the group's second single on the label. Keyboardist Manfred Mann plays the Mellotron on the recording; it was one of the earliest recordings featuring the instrument. Following a trend set by Bob Dylan, the song tackles the subject of life in British middle class suburbia from the perspective of a narrator, who laments the loss of a lover after her marriage to another man.