This is an uptempo, light bossa nova vocal interpretation of this song, very much in the vein of the classic Sergio Mendes & Brasil '66 sound. Very nicely arranged male/female vocal harmonies, superb electric harpsicord and swirling, lush strings really make this version quite outstanding and contrasting to the Perry Como version, who popularized this song a year earlier.
from Aldemaro Romero And His Onda Nueva (Columbia) available on CD - Brisa Brasilera (CBS)
Found this sealed copy at a local thriftery, an artist i've never heard from a good period at Columbia. Most of the LP meanders in a poetic way, highlighting Spheeris's moody lyrics, sometimes getting a little too "drippy" at times. This track stands out like a champ from the rest, and was penned by a sideman on the LP, Lee Calvin Nicoli. It has such a great pop appeal, in a sort of Cat Stevens way, with a brilliant arrangement (by the author no doubt), that moves along bouncing and resting... A perfect song for a rainy sunday afternoon!
Seems this fellow died very young, and has quite a cult following from what i've read. Should be a nice discovery for fans of 70's folk. And singer-songwriter stuff.
An amazing trippy piece of social commentary, from their genius concept LP. The opening track, and it goes all over the place with this completely mad arrangement by Chad Stuart, and produced by Gary Usher (of "Pet Sounds" fame). The track seems to pertain to mortality, and the sad truth of time and the forgotten... It sets the tone for the whole album, which seems inspired by atmosphere of the time, when singles were exchanged for huge concept pieces, more likely due to the success of "Sgt. Peppers" and the like, but taking a much more delightfully cynical view! A sometimes overlooked part of the britpop puzzle, Chad and Jeremy are full of surprises.
from Of Cabbages & Kings (Columbia CS 5471
CS 5471), available on CD (Sundazed)
This is so wrong; it ends up being right somehow. On paper, this cover is a car wreck. Barbara takes on Bowie’s brilliant, epic ballad of camp surrealism – his homage to big, theatrical female belters like Judy Garland, Shirley Bassey and…Streisand, herself – and the song escapes her utterly. Her delivery sound like she learned the lyrics phonetically. (She might as well be singing in Cantonese.) And Jon Peters’ production/Tom Scott’s arrangements bring to mind the cool, “L.A.-sound” of Joni Mitchell’s “Court and Spark” LP – minus all the clever bits Joni brought to the table. Yet it spite of all of these faults – this version works. The song is just too good, and Babs’ charisma is just too powerful. It’s a [Space] oddity you’ve got to hear to believe.
On my weblog, I referred to this song as a "Funky Housewife Thang", since "Skippin'" was used as the theme song for a local homemakers' TV show in the late '70s and early '80s. It really is funky (several members of Earth Wind and Fire play on it) -- squishy synths bobbing along until Ramsey's piano enters and brings it down to earth. The kind of thing you could get down to safely while dusting around the house.
from Tequila Mockingbird, available on CD (Columbia)