While Sonny & Cher are seen as freaks in the United States mid-1965, it's love at first sight acrossthe Atlantic. The more fashionable (and broader-minded) British response to their promotional visit breaks precedents when they're re-booked (for a month) on TOP OF THE POPS; and a press deluge sends their popularity and record sales skyrocketing. Sonny & Cher are the stylish, imaginative and original vanguards for the countercultural revolution to follow: to all appearances they define equalpartnership with an anti-establishment take on gender and politics.

 

For the next year England serves as a base for Sonny & Cher's American Invasion of Europe via music and fashion. More used to a four-boy rock lineup of dubious musical pedigree, musically savvy Londoners enthuse over Sonny & Cher's added piano and second drummer in concert, as well as their ability to recreate their hits live. On continental Europe, French and Italian covers of the Sonny & Cher records will soon be charting in the six-figure range as fast Sonny can make the templates. Of course he's been making records for years, and when the re-issues hit the stores in 1965 teenyboppers dont have a clue what label they actually record for, but they sure as hell know what Sonny & Cher look like.

 

 

 

 

 

 

 

 

 

 

Britain's FABULOUS magazine - as guest-edited by Donovan - dispatches The Zombies' Colin Blunstone and a Marianne Faithfull look-alike model (right, above) to the streets of London for a fashion spread on The Sonny & Cher Look: if it can't be bought, designers re-create it. The unique style however is nobody's vision but Sonny & Cher's. A rebellious teenager's refusal to wear dresses or go to a beauty parlor could spell disaster: in Cher's case (adapting boys' clothes for night and stripper makeup for daywear) it means millions of girls will take to wearing pants formally, and an archetype of brunette beauty will emerge to challenge Anglocentric ideals forever.

In Europe especially, managers Greene & Stone attribute Cher's "look" as a nod to her American Indian ancestry*, and there's no shortage of animal skins and fringing in how Sonny & Cher present themselves there. The trendiest of Italian beat boys cop Sonny's neo-cavish sartorial statements and attitude as their thing, and girls everywhere will do their darndest to emulate Cher regardless of their own attributes. The vibes aren't all good back home: Nancy Sinatra dismisses the pair as clowns, the Beach Boys indulge in an especially nasty parody of "Laugh At Me" at Sonny's expense.

* Half a century after the fact, Cher will be castigated for "cultural appropriation", and the apparently well-meaning accusers will undertake online "investigations" seeking to disprove Indian heritage. Cher's own acknowledgment that she is indeed a fashion victim (but by choice...) presumably can be partly - or wholly - to blame for the look she gifted the Woodstock generation.

 

Cher however won't be compromising her style to suit anybody's tastes other than her own, and achieves what few trendy rockers are able to manage in 1966: an extended 14-page spread in Vogue magazine, photographed by Richard Avedon. Although nominally peddling next season's fashion (which Cher models superbly), the magazine's imprimatur is upon Cher herself as a unique and original beauty, and then some. Her familiar "look" isn't toned down or gentrified: it's polished and exaggerated to a fare-the-well. The celebrity fashion foray won't help to sell records or a Sonny & Cher film or her own fashion label, but it's a remarkable early snapshot of Cher as a self-invention who/which is of more substance than the immediate and the apparent.

 

Vogue November 1966 / Richard Avedon

 

 

 

Since the first release of "Baby Don't Go" (on Reprise in late '64, and a hit in Los Angeles only), Sonny has been recording other acts with Charlie Greene and Brian Stone, unsure and unaware that Sonny & Cher are soon destined for The Bigtime. L.A. high-profilers like D.J. Reb Foster, The Pastel Six and Joey Paige are produced by Sonny, with only very limited local success. Sonny's tentative Wall Of Sound for the Standells fails to catch on despite being a major hit pick, and Cookie Jackson's record will have to wait forty years before becoming a Northern Soul collectible.

 

 

 

Reb Foster, Charlie Greene at Gold Star, Joey Paige

 

Standells, The
Vee Jay 643
*The Boy Next Door (SB/G) / BJ Quetzal (SB, G&S) (inst)

January '65

*Prod SB

Standells, The
VeeJay 679
*Big Boss Man / *Don't Say Goodbye
*Prod SB
Reb Foster
Loma 2008
Something You Got / Quetzal & Jude (inst by Reb & Rousers)
Arr Prod SB for York-Pala
Fiends, The
GNP Crescendo 335
Theme From Addams Family / Quetzal Quake (SB,G&S)
Both Intrumental
Pastel Six
Chattahoochee 696
I Can't Dance / Red River Quetzal (inst)
Cookie Jackson
Uptown 700
Uptown Jerk / I'm Gonna Shout It On The Mountain
Both written SB,G&S
BJ & The Profits
Uptown 705
It's Gonna Rain Outside (SB) / I Lost All Faith (SB, G&S)
Sonny Bono
VeeJay 710
Midnight Surf (Theme For Valora) / Ride The Wild Quetzal
Both inst written SB,G&S
Joey Paige
Tollie 9045
Cause I'm In Love With You / Yeah Yeah Yeah (SB)
Both Arr Prod SB Eng Stan Ross

 

 

Although by early 1965 "Sonny & Cher" and "Cher" have exclusive duo and solo contractswith Atco/Atlantic and Imperial/Liberty respectively, the fruits of their earlier labors appear with astonishing speed as cash-ins and otherwise following the mid-year national breakout by both entities.

Reprise Records catches the Sonny & Cher wave by re-releasing "Baby Don't Go" in August 1965, scoring an international hit. Anticipating a second bite of the pie, the three older Jimmy Bowen-produced Caesar & Cleo tracks, which Sonny dismisses as "demos", are pressed into service. But Reprise's attempts to follow-up the "Baby Don't Go" windfall will be hampered by the names and signatures on the Caesar & Cleo contract*, and won't cruise up the charts as Sonny & Cher product. Not for lack of effort though: Reprise aggressively distributes 45s, an EP and an album worldwide which even touts a throwaway B-side instrumental as a Sonny & Cher recording. Vault's Caesar & Cleo track is however re-released as a Sonny & Cher 45 (with some regional charting action) and quickly acquired by Atco for inclusion on the first Sonny & Cher LP. But Sonny's old Don Christy effort from 1962 "I'll Change" doesn't change into a 1965 hit.

* The session release is signed by Salvatore Bono & Cher LePiere on behalf of "Caesar & Cleo", and can't legally be sold as Sonny & Cher recordings.

 

 
Caesar & Cleo

Reprise 0308

Reprise 0416

Love Is Strange / Do You Want To Dance

Love Is Strange / Let The Good Times Roll*

*Reissue
Sonny & Cher
Reprise 0309
Baby Don't Go SB) / Walkin' The Quetzal (SB, G&S) inst
Reissued as Reprise 0392
Caesar & Cleo
Vault V-909
The Letter / String Fever (SC, inst "Spring Fever" on RI)
Reisued as V-916, by "Sonny & Cher"
Don Christy
Rush 1001
I'll Change / Try It Out On Me
Reissued as Highland 1160, by "Sonny"

 

 

 

 

 

Sonny & Cher's musical success in Europe won't come automatically. Every regional market presents obstacles - from government control of media to virtual monopolies of radio and juke-boxes by record companies. There's also a consumer preference for local language and interpretation. The pre-rock Old Guard still dominates the Euro charts in 1965, and so-called Beat Music is generally meeting with strong resistance. A loud youth culture, or more correctly, a savvy anti-bourgeois movement, demands artists like The Rolling Stones, The Beatles and Dylan. Sonny & Cher's continental breakout in late 1966 will be due to quality music as much as to image and teenybopper appeal. "I Got You Babe" however won't be their defining moment of stardom in Southern Europe, but as Ahmet Ertegun launches the Atco label in France with the record he puts the nation on notice: "Sonny, Cher, and Sonny & Cher have conquered the United States and England, and quickly - let us not doubt it - will conquer France and every other country!" And voila! The label's in the black from day one thanks to Sonny et "Dear", and the associated cash-flow from cover versions.

 

Europe's Romance languages and musical sensibilities inhibit creation of original rock and beat records, but good local lyricists (along with excellent arrangers and producers) are well able to transform melodically-strong Anglo pop-rock songs into brilliant Italian, Spanish and French/Canadian records. Sonny's musical imagination and influences (from childhood tarantella to Harold Battiste's World Music via Phil Spector) may not greatly move Americans, but the opposite applies to Europeans. As "Ya Te Tengo", "I Got You Babe" does service across the Spanish-speaking world as everything from a wistful beat groove to a throbbing tit-shaker. The world of Ye-Ye is quick to notice Sonny & Cher's music: French superstar Sylvie Vartan cuts a perfect beat-ish "Baby Don't Go" in late-65 (as "C'etait Trop Beau") - evidencing an adaptability which will ensure her longeivity from Ye-Ye into the 21st Century. Akim's take on "Just You" ("Pas Sans Moi") successfully replicates the original lushly-Spectorian production.

 

"Sing C'est La Vie" is bigger than "I Got You Babe" in Australia; and Frank Alamo ends his career as a YeYe Boy on a high point with the song, prior to army service. An accompanying color video ensures that neither Frank nor "Sing C'est La Vie" will be quickly forgotten by his French or Quebecois fan base. Quebec takes its cues from Paris, and Sonny's songs re-cross the Atlantic as local covers of French hits. French Canadians even get their own Sonny & Cher in the form of Nanette et Tony when Tony Roman jump-starts Nanette Workman's career with a Bonoesque cover of Sonny & Cher's rock'n'roll take on "Et Maintenant", to be followed by similar efforts with "Little Man", "It's The Little Things" and "The Beat Goes On".

 

 

 

 

Italian cover versions kick off in 1966 with back-to-back releases of "I Got You Babe" and "Just You" (as "Sei Contento" and "Ancora Sempre e Solo Te" respectively) from folkies Jonathan & Michelle; to much the same disinterest as Gidiuli's version of "I Got You Babe". I Ragazzi del Sole however break through with "Laugh At Me", as "Non Ridere di Me". (France's Sheila has already done a drastically reworked version (as "A La meme Heure"), and this in turn has been covered by Montreal all-girl band Les Guerrieres.)

 

 

 

 

I Nomadi's straight-ahead protest take on "The Revolution Kind" ("Come Potete Giudicar") launches a long career for a group which will remain committed to apolitical social justice senza apologia, unlike the writer of their breakthrough hit. Sonny's original cop-out English lyric is ignored in translation, but Come Potete Giudicar button pins - the bumper stickers of Italo-rebels - are omnipresent. Nomadi's massively popular 45 even features "You Dont Love Me" (from Sonny & Cher's LP) on the B-Side, and the group enter the madness of Cantagiro '66 with the song. The sensational Patty Pravo's solidly in-the-pocket version of "But You're Mine" ("Ragazzo Triste") hits another home-run, dramatically redefining the original without reinventing it. She doesn't need to since it's pure canzone in form anyhow, and she takes ownership of it for one of her all-time career-defining anthems. (Decades later inmates will deliver an impromptu acapella performance welcoming La Pravo to the slammer for a brief stay behind bars.)

 

 

 

 

In 1966 Cher squares off against no less than four versions of "Bang Bang" in Italy alone. Equipe 84 define the song as an epic spaghetti western, and blast Cher out of the Top 10 on their way to a shoot-out with Sinatra's "Strangers" for the top slot. After months in second place they only enjoy top gun status for a couple of weeks. Dalida - re-invented as a Nancy Sinatra look-alike - blows them all away with her tortured "Bang Bang": she replaces Equipe 84 at Number One, after refusing to perform on any venue with singers of rival versions. (Chart compilers give up tracking sales and airplay, and award everybody who's recorded "Bang Bang" top honors.) Inspiring an alternate-lyric Quebecoise version from Claire Lepage, Sheila takes the song to the top in France, and her movie the following year is called... yep..."Bang-Bang. Some Statesiders snicker when Ahmet Ertegun pronounces it "one the greatest post-WW2 songs ever written", but they haven't seen the sales figures from Europe, and can't know its golden future as Sonny's most valued copyright - with Ahmet in for a slice of the publishing action on all versions.

European superstars Petula Clark ("Where Do You Go","Bang Bang"), Dalida ("Bang Bang", "Little Man", "Mama"), Paul Mauriat ("Bang Bang", "Mama") and Milva ("Little Man") all add Sonny Bono songs to their hits repertoires, as well as their albums which are racking up millions in multilingual sales worldwide. Superb lyricists like Mogol, Miki Del Prete and Allesandro Colombini provide translations or new lyrics for Sonny & Cher recordings - songs destined to become beat standards, or sentimental favorites in the hands of Eurodivas like the semi-tragic Dalida.

 

 

Sonny & Cher arrive in London mid-summer 1966 to begin a European tour at the onset of the Continental "Bang Bang" furor, and Sonny's timing couldn't be better. He brings an unfinished track to London, lays down overdubs and vocals and rush-releases it. "Little Man" is a worldwide smash (without visiting the U.S. Top Ten), and Sonny & Cher need to lay down French vocals to compete with two lyrically different French versions (Dalida's "Petit Homme", Erick Saint -Laurent's "Les Enfants Qui Jouent"). It's the same deal in Italy: their "Piccolo Ragazzo" will chart behind Milva's and ahead of I Rogers' versions. As an orchestrated schlager , "Little Man" cracks the massive easy-listening market - cheerily greeting fans picking up their new James Last and Franck Pourcel albums.

 

 

Dalida will finish 1967 as she started: sitting squarely on top of the Italian charts with yet another from Sonny's trusty upright ("Mama"), delivering a repeat performance of hand-wrenching High Melodrama. In between "Bang Bang" and "Mama", the former Miss Egypt has wisely seconded "Little Man" ("Petit Homme") into another hit, since it's a close relative of her "Zorba's Dance" smash from the year before. Nanette's stint as an interpreter of Sonny & Cher's songs comes to an end around the same time as her affiliation with Tony Roman & the Canusa label, and she's in fine form with "Et Tout Recommence" - one of the better covers of "The Beat Goes On".

 

 

 

 

1966 European trading cards

 

 

 

January 1967's San Remo Song Festival is anti-climactic for Sonny & Cher inasmuch as neither Cher nor the duo make it to the finals with their entries. Nor do they feature prominently in the predictable notoriety of the proceedings. Harold Battiste conducts the orchestra for Cher's "Ma Piano" and Sonny & Cher's "Il Cammino di Ogni Speranza". Both songs are also respectively performed by soundtrack singer Nico Fidenco and star Beat Girl Caterina Caselli, according to but one tradition of the festival. San Remo has an established reputation for scandal, controversy and dramatic outrages - often directed at co-performers - and it's fast gaining a reputation as a front for graft and corruption in the Italian recording business.

 

Dirty record company politics see Cher narrowly get to perform "Ma Piano" ("Slowly") at the expense of I Nomadi. Neither is wanted by the composer or his cohort Fidenco, who derides Cher's phonetic (though excellent) delivery of the shared song, which in a short space of time will be quickly forgotten for the lousy tune it actually is. La Caselli blames the shared "Il Cammino" ("The Way of Every Hope") defeat on teetotalling Sonny & Cher's inebriation and worse. But it's the ubiquitous Dalida's just-fianced Luigi Tenco who puts sour grapes and grappa into reasonable perspective by allegedly blowing his brains out with a handgun following his loss. Tenco's "protest suicide" and subsequent conspiracy theories define San Remo '67: the festival della canzone begins its decline, Il Cult di Tenco is born and "Bang Bang" is already in Dalida's tragedienne repertoire - albeit with a new resonance: she attempts suicide a week after Tenco's demise.

Sonny & Cher enjoy the average twenty-month lifespan of most hit acts of the pop-rock era, with a remarkable twist: as American and British Top 40 tastes dispense with Sonny and Cher, their original records become demos for European superstars and even hits behind the Iron Curtain. The flash of songwriting magic Sonny Bono showed in 1965 will be rewarded in Europe for as long as he focuses on writing strong, original material. He doesn't however, and despite Italian lyrics by Mogol, "Caro Cara" is out-dated Spector-fied Ye Ye music. But it's the best offering from the GOOD TIMES movie soundtrack, and won't inspire a slew of Continental covers. Cher's final stateside smash of the Sixties "You Better Sit Down Kids", sung in Italian as "Bambini Miei Cari", surprisingly ends up as a B-side. By 1968 the Italian Jobs are finito and The French Connection's vaporized, but Sonny has made his mark: few Anglo rock composers will see their ditties morph so very successfully into the diverse Beat or dramatic tearjerker idioms of French, and especially Italian, popular song. Even fewer will do it on the strength of a five-chord mastery of the piano.

 

 

 

The Pro-Bono Project was begun by noted musicologist Phil X Milstein in 2005 as a collection of Sonny's more quirky 60's musical projects like the Quetzal instrumentals which graced many of Sonny & Cher's 45 B-sides. Over time, and with ongoing global contributions, the Project has grown into an archive of hundreds of cover recordings, pre- and post-Cher recordings and compositions, serious soundalikes and not-so-serious spoofs and spins on Sonny & Cher. This site is indebted to Phil's research and generosity, without which the following listing of 60's international cover versions and forgotten gems would be considerably less complete. Additions & corrections are welcome!

 

"BABY DON'T GO"

 

Chad & Jeremy
US
LP Columbia CS 9198
from "I Don't Want To Lose You Baby"
James Last
DE
LP Polydor 104 678
1966
from "This Is James Last"aka "Beat In Sweet"
Jimmy & Pat
US
Hit 224
1965
budget soundalike
Sylvie Vartan
FR
EP RCA Victor 86 125 M
1965
as "C'etait Trop Beau"
Those Fantabulous Strings
US
LP Metro M/MS 557
1965
inst.,from "...play The Sonny & Cher Hits"
The Vogues
US
LP Co&Ce 1229
1965
from "Meet The Vogues"

 

 

"BANG BANG"

 

Ajda Pekkan
TU
45 Regal 5002
1966
sung in English
Anda Calugareanu
RO
45 Electrecord – EDC 957
1968
as "Beng Beng"
Ann Burton
NL
LP CBS 52807
1969
from "Ballads And Burton"
Beau Brummels, The
US
LP Warner Bros W/S 1644
1966
from "Beau Brummels '66"
Bonzo Dog Band
UK
LP
1968
from The Doughnut In Granny's Greenhouse
Cem Karaca w/ Apaslar
TU
EP Sayan Seri FS 127
1967
Chet Baker & Mariachi Brass
US
LP World Pacific WPS 21842
1966
from "Hats Off"
Clair Lepage
CA
45 Teledisc TD21
1966
alt French lyric to Sheila version
Cliff Richard
UK
LP Columbia SCX 6435
1970
from "Tracks 'n' Grooves"
D. Kalafe
BR
EP Unidos AUCS 7.009
Dalida
FR
45 Barclay 60738
1966
sung in French
Dalida
IT
45 Barclay BN 6097
1966
sung in Italian
Djordje Marjanovik
YU
EP RTB PGP 50111
sung in Serbian, sampled by U Ime Igre 2005
Enrico Ciacci
IT
LP RCA Italiana S 18
1967
from "Chittara Sessantasette"
Equipe 84
IT
45 Ricordi SRL 10.438
1966
I Corvi
IT
45 Ariston AR 0161
1966
Kinita
SP
EP Philips 436 824
1966
sung in Spanish
Lili Ivanova
USSR
LP Melodia
1967
sung in Bulgarian, from "Poet"
Los Bulldogs
ARG
LP RCA Victor LZ-1133
1966
from "Los Bulldogs" (instrumental)
Los Mac's
CH
LP
1968
from "Los Macs"
Majda Sepe
YU
EP Jugoton EPY 3857
1967
Maritza Fabiani
BR
45 Polydor CSPN 51.000
1966
sung in Potuguese - lyric by Carlos Wallace
Milena Cantu
IT
45 Clan ACC 24038
1966
Monica
GER
Decca 45 D 19 811
1966
Nancy Sinatra
US
LP Reprise
1966
from "How Does That Grab You?"
Petula Clark
FR
EP Vogue HV 27 159
1966
Powers Of Blue
US
LP MTA 5002
1967
from "Flip Out"
Sandy (Posey)
US
45 Hit 250(?)
1966
budget "soundalike" - same # as Roamers/Joanne Kay re-issue
Sheila
FR
EP Phillips 437.233
1966
Sophie Renaud
FR
45 Panorama Succès n° 14
1966
Stevie Wonder
US
LP Tamla 272
1966
from "Down To Earth"
Terry Reid
US
LP Epic 2647
1968
from "Bang, Bang You're Terry Reid"
Xavier Cugat
US
LP Decca
1966
from "Bang Bang"

 

 

"BUT YOU'RE MINE"

 

Benny & Petra
GER
45 Columbia 23124
1966
as "Wir gehen Unser Weg Allein" (Benny Quick & Petra Prinz)
Patty Pravo
IT
45 Arc AN 4097
1966
as "Ragazzo Triste"
Sonny & Cher
FR
45 Atco 7 / EP Atco 108
1966
as "Je M'en Balance ( Car je t'aime)" French & English
Sonny & Cher
CA
45 Atco LF 117
as "Mais Tu Es à Moi" all French lyric

 

 

"I GOT YOU BABE"

 

Aranbee Pop Symphony Orch.
UK
LP Immediate ILLP/..SP 003
1966
from "Today's Pop Symphony"
Benny & Petra
DE
45 Columbia 23124
1966
as "Bleib Bei Mir Babe" (Benny Quick & Petra Prinz)
Claude Francois
FR
EP Philips 437118 BE
1965
as "Je T'ame Trop, Toi", French lyric Francois/Buggy
Daniela
YU
EP PGP 57466
1966
as "Nasao Sam Te"
Dora Hall
US
45 Reinbeau 5819
1966
Etta James
US
45 Cadet 5606
1968
Gidiuli
IT
45 Jolly J20349
1966
as "Sei Contento", sung in Italian
James Last
DE
LP Polydor 104 678
1966
from "This Is James Last"
Jonathan & Michelle
IT
45 Rifi RFN 16145
1966
as "Sei Contento"
Kinita
SP
EP Philips 436 374 PE
1965
as "Ya Te Tengo", sung in Spanish
Lions, The
DK
LP Triola TDI 211
1966
from "Many Sides of Lions"
Los Salvajes
SP
EP Regal-EMI SEDL 19.481
1966
as "Ya Te Tengo", sung in Catalan
Majestics w/ Jackie Gabriel
US
LP Arc 780
1968
from "Here Come Da Judge"
Manfred Mann
UK
EP 7EG 8949
1966
instrumental, from "Instrumental Asylum"
Tania Velia
SP
EP Belter 51603
1966
as "Ya Te Tengo", sung in Catalan
Those Fantabulous Strings
US
LP Metro M/MS 557
1965
inst.,from "...play The Sonny & Cher Hits"
Tiny Tim
US
LP (OST) Columbia OS 3240
1969
from "You Are What You Eat", with E. Barooshian (ex-Cake)
Wayne & Dee
US
45 Hit 221
1965
budget "soundalike"

 

 

"IT'S GONNA RAIN"

 

Camel Drivers
US
45 Top Dog 100
1965
Gentleman June" Gardner
US
45 Emarcy 4050
1966
inst
Those Fantabulous Strings
US
LP Metro M/MS 557
1965
inst.,from "...play The Sonny & Cher Hits"
B.J. And The Profits
US
Uptown 705
1965
as "It's Gonna Rain Outside" arr prod Sonny Bono

 

 

"IT'S THE LITTLE THINGS"

 

Nanette & Tony Roman
CN
45 Canusa 355
1968
as "Les Petites Choses"
Sonny & Cher
IT
45 Atlantic 02005
1967
as "Caro Cara" in Italian

 

 

"JUST YOU"

 

Akim
FR
45 Phillips B 373.654 F
1965
as "Pas Sans Moi", also EP 437.121
Betty Wright
US
LP Atco SD 33-260
1968
from "My First Time Around"
Jonathan & Michelle
IT
45 Rifi RFN 16146
1966
as "Ancora Sempre E Solo Te"
Those Fantabulous Strings
US
LP Metro M/MS 557
1965
inst., from "...play The Sonny & Cher Hits"
Thursdays Children
UK
45 Piccadilly 7N 35276
1966

 

 

"LAUGH AT ME"

 

I Ragazzi Del Sole
IT
45 Jolly 20359
1966

as "Non Ridere Di Me", sung in Italian

Les Guerrieres
CA
45 Fantastic 3643
1965
as "A La Meme Heure"
Mott The Hoople
UK
LP Island ILPS 9108
1969
from "Mott The Hoople"
Sheila
FR

45 Phillips B 373.665 F

1965
as "A La Meme Heure"
Those Fantabulous Strings
US
LP Metro M/MS 557
1965
inst., from "...play The Sonny & Cher Hits"

 

 

"LITTLE MAN"

 

Berti (Glockner)
DE
45 Polydor 52 758
1966
as "Immer Nur Die Ander'n"
Bisera Veletanlic
YU
EP PGP RTB 50236
1967
as "Decac Taj"
Dalida
FR
EP Barclay 71064
1966
as "Petit Homme", remixed 2001
Dalida
IT
LP Barclay-RCA
1967
as "Piccolo Ragazzo", from same-titled LP
Djordje Marjanovik
YU
EP
1968
as "Mali Covek", sung in Serbian
Durcy Denis
MX
Erick Saint-Laurent
FR
EP Barclay 71071
1967
as "Les Enfants Qui Jouent"
Franck Pourcel
FR
LP
1967
as "Hombrecito", from "Amor, Bailes y Violines #6"
Fiammetta
IT
45 Bluebell 2004
1967
I Rogers
IT
45 Kansas 1023
1966
as "Piccolo Ragazzo"
James Last
DE
LP Polydor
1967
from "Sax a GoGo"
Milva
IT
45 Ricordi SRL 10446
1966
Radmila Karaklagic
YU
EP Jugoton EPY 3749
1967
as "Da Si Tu"
Nanette et Tony Roman
CN
45 Canusa 309
1967
as "Petit Homme"
Sonny & Cher
FR
EP Atco 117
1966
as "Petit Homme"
Sonny & Cher
IT
45 Atlantic 90195
1966
as "Little Man (versione italiana)"

Tulla

FIN
45 HMV TJ-364
1967
as "Pieni Mies" (Finnish)
Tony Dallara
IT
45 CBS 2540
1967

 

 

"MAMA"

 

Cher
IT
45 Liberty 9016
1967
sung in Italian
Dalida
FR
45 Barclay M 944
1967
sung in French
Dalida
IT
45 Barclay BN 7013
1967
sung in Italian
Dalida
DE
1967
sung in German
Danny
FN
45 Scania KS 747
1968
as "Tahdon (Kuunnella Neuvoja Aidin)"
Larisa Mondrusa aka Larissa
USSR
1967
sung in Russian
Paul Mauriat
FR
LP Philips PHS 600 248
1968
from "Blooming Hits"
Sonia
IT
45 Voce Del Padrone MQ 2088
1967

 

 

"SING C'EST LA VIE"

 

Agnetha Fältskog & Jörgen Edman
SW
45 Cupol 239
as "Sjung denna sång"
Frank Alamo
FR
EP Riviera 231.120
1965
sung in French
Freddie & The Dreamers
UK
LP Columbia SX 6177
1967
from ""King Freddie..."
Glenda Collins
UK
originally unreleased
1965
from "This Little Girl's Gone Rockin'" CD
Gus Backus
DE
45 Polydor 52 740
1966
Maurice Dean / Orch
DE
LP Saba ‎– SB 15 075
1966
from "Songs International"
Marco Rimo
BE
EP MB Expo
1966
Raymond Siozade
FR
LP Riviera 7615
from "Tout Le Monde Danse"
Raymond Le Sénéchal
FR
LP Disques Vogue LVX 6930
1966

from "28 Super Succès"

Those Fantabulous Strings
US
LP Metro M/MS 557
1965
inst., from "...play The Sonny & Cher Hits"

 

"THE BEAT GOES ON"

 

Boogaloo Joe Jones US
LP Prestige PR 7557
1967
from "Introducing The Psychedelic Soul Jazz Guitar of Joe Jones"
Booker T & The MGs US
LP Stax 724
1968
inst.,from "Doin' Our Thing"
Buddy Rich Big Band
US
LP Pacific Jazz 10117
1967
from "Big Swing Face" (live), vocal Cathy Rich
Bobby & Connie US
45 Hit 281
1967
budget "soundalike"
Gabor Szabo US
LP Impulse A(S)-9146
1967
from "The Sorcerer"
Golden Kids CZ
LP Supraphon 0665
1969
from "Micro Magic Circus"
Herbie Mann US
LP Atlantic SD 1483
1967
inst.,from "The Beat Goes On"
Inga (Rumpf) DE
45 Decca 19861
1967
sung in German
Kenny Smith US
LP MMO 4073
1970
feat. Dee Dee Bridgewater
La Ragazza 77 IT
45 Ricordi SRL 10.496
1967
as "Il Beat...Cos'e'", in Italian ("La Ragazza 77" is Ambra Borelli)
Lawrence Welk US
45 Dot 17001
1967
also LP 25790 "Songs Of Our Times"
Los Yorsy's ME
45 & EP Musart
?
as "El Ballet Hippie", sung in English
Marthe Fleurant CA
45 Choc 059
1967
as "Tout Continue"
Matadors, The DK
?
1967
instrumental
Nanette (Workman) FR
EP Festival 19.102
1967
as "Et Tout Recommence"
Rocky Roberts / Airedales IT
LP Durium 77163
1967
from "A Saboto Sera"
Sandy Nelson US
LP Imperial 9345 / 12345
1967
inst., from "The Beat Goes On"
Sonny Criss US
LP Prestige PR 7558
1968
inst.,from "The Beat Goes On!"
Vanilla Fudge US
LP Atco 33-224
1967
from "Vanilla Fudge"
Young-Holt Unlimited US
45 Bruswick 55338
1967
inst.

 

"THE REVOLUTION KIND"

 

I Nomadi IT 45 Columbia SCMQ 1926 1966 as "Come Potete Giudicar"

 

 

"WHERE DO YOU GO"

 

Petula Clark FR 45 Vogue FS 45.1339 1966
as "Que Reste T'il"
Terry Knight And The Pack US LP Lucky Eleven LE-8000 1966
from "Terry Knight And The Pack"
Wildlife, The US 45 Columbia 4-44285 1966  

 

 

"YOU BETTER SIT DOWN KIDS"

 

Cher
IT
45 Liberty 1968
as "Bambini Miei Cari" in Italian
Donald Height
US
45 Jubilee 1968
Gary Puckett & The Union Gap
US
LP Columbia CS 9612 1967
from "Woman Woman"
Glen Campbell
US
LP Capitol ST/SM 103 1968
from "Wichita Lineman"
Jan Howard
US
LP Decca DL-75012 1968
from "Count Your Blessings Woman"
Julie Rogers
US
LP Ember NR 5050 1970
from "Once More With Feeling"
Karen Young
UK
45 Major Minor 584 1968
Liza Minnelli
LP
LP A&M SP 4141 1968
from LP "Liza Minnelli"
Pozo Seco Singers
US
LP Columbia 9656 1968
from "Shades Of Time"
Raymonde Singers Etcetera
UK
LP Decca Phase 4 Stereo 1969
from "Feelin"
Roy Drusky
US
45 Mercury 72784 1968
Sammy Davis Jr.
US
LP Motown MS 710 1970
from "Something For Everyone"