Revisiting Tony Hatch's "You Better Come Home"
Posted: Tue Sep 24, 2013 2:10 pm
To me, there's not much better pop tune than "You Better Come Home" by Petula Clark, written by Tony Hatch. ... To me it's up there with Burt's most dramatic and most musical best like "I Just Don't Know What to Do With Myself." This tune, recorded either end of 1964 or early 1965, about the same time as "Downtown."
The reason of this post, is that I've finally listened off YouTube to that song after many years of this song drifting around in my head. Wow.
The melody of each verse is the same, but each each of the first two resolve in different keys. (Petula singing the "6th" the first time which was hanging her out there a little!) Then a little coda finally takes it at the end to the tonic. You finally feel a musical resolution. But then, and wonderfullly so, back to the opening theme and all its drama. That's fine songcraft. This song contains one of my favorite ever B-sections, that's on the edge-of-a-cliff high drama - punches you in the gut - Petula pleads and it's wrenching to hear the shades of her pleading here, both times... . Plus Petula's nice phrasing in the fadeout, Dionne-like. I would ask everyone to listen to the end of this song again if you didn't remember Petula's little phrasing at the end..
OK Forget all I said above and just listen again:
From WSJ interview in June: ""I was a big admirer of Burt—and at times I found it difficult not to copy him," Mr. Hatch said. "A lot of my songs have a Bacharach influence, but with 'Downtown' I realized I had to break the habit. That was pure me."
I'm surprised that Tony Hatch is a dozen years younger than Burt. He must have got a real early start, like Jimmy Webb.
If there were essences of what is missing today in pop music, it would be a tune like this as a standard. I don't think young people - listeners that is - or even the best of young musicians, songwriters, appreciate what is going on here. Can they hear it? I don't think so. That scares me.
Thank you Burt and thank you Tony.
The reason of this post, is that I've finally listened off YouTube to that song after many years of this song drifting around in my head. Wow.
The melody of each verse is the same, but each each of the first two resolve in different keys. (Petula singing the "6th" the first time which was hanging her out there a little!) Then a little coda finally takes it at the end to the tonic. You finally feel a musical resolution. But then, and wonderfullly so, back to the opening theme and all its drama. That's fine songcraft. This song contains one of my favorite ever B-sections, that's on the edge-of-a-cliff high drama - punches you in the gut - Petula pleads and it's wrenching to hear the shades of her pleading here, both times... . Plus Petula's nice phrasing in the fadeout, Dionne-like. I would ask everyone to listen to the end of this song again if you didn't remember Petula's little phrasing at the end..
OK Forget all I said above and just listen again:
From WSJ interview in June: ""I was a big admirer of Burt—and at times I found it difficult not to copy him," Mr. Hatch said. "A lot of my songs have a Bacharach influence, but with 'Downtown' I realized I had to break the habit. That was pure me."
I'm surprised that Tony Hatch is a dozen years younger than Burt. He must have got a real early start, like Jimmy Webb.
If there were essences of what is missing today in pop music, it would be a tune like this as a standard. I don't think young people - listeners that is - or even the best of young musicians, songwriters, appreciate what is going on here. Can they hear it? I don't think so. That scares me.
Thank you Burt and thank you Tony.