Author: Cher Scholar (Page 6 of 6)

Dollhouse Records

So when I was a kid my grandmother used to give us $25 savings bonds as gifts all through the 1970s. Pleh. Snooze-fest for a kid. Then one day my father said, “the market is good, you should cash those in.” I was eleven. Yes! Enough of this investing. Let’s blow some moolah!

In St. Louis near where we lived there was a mall they called Westport Plaza. This plaza had a Mexican restaurant, trendy bars, and back-flipping baseball star Ozzy Smith’s restaurant (my grandmother loved it because she could nibble spicy chicken wings there). Jugglers and magicians performed outside. This is where our high-school friend Jonathan Levit started the fire-eating, juggling act he had at the time. There was also a tiny theater in the round there. I saw Cyd Charisse perform in the play Mister Roberts and the band ‘Til Tuesday.

Anyway, back in 1981 when I was flush with cash, I was obsessed with a fancy toy shop called Aunt Heidi’s Corner at this mall because it had a whole room of dollhouses, hobby kit dollhouses. I took my cash spree and bought the biggest one there. My Dad was not too happy about assembling it but he spent a few months building the thing and then told me it was up to me to shingle it (which I did) and paint it (which I’m still doing).

Last week I purchased a stereo for the house. There was a console looking one (near to what I had as a kid) but the table-top stereo didn’t match the built-in one we had. So I opted for the 1980s-looking component version.

After high school I also came into some graduation cash. My two older brothers talked me into using it to ditch their hand-me-down all-in-one stereo for stereo components. We all went to the stereo store and they picked out brands of speakers, receivers, turntables and a tape deck and then they taught me how to hook it up, which I did through five of six moves until I sold it all in a Redondo Beach garage sale along with half of my records.

So to go with the new little version, I recently purchased a set of 60 tiny record albums from a woman on eBay, plus 6 custom records I asked her to make. They were sold in sets of 5 for $6. So back when records were $7.99, this calculates to 24 weeks of a teen’s diverted lunch and allowance money. Whoo hoo!

(Just like the old days, I alphabetized them.)

Big People Records

I’ve always listened to record albums. When I was  six in Albuquerque, my parents taught me how to handle them and get them on the turntable. I was just learning to read so I became obsessed with storyteller records that each came with a read-along book. My favorites were the ones that faithfully stuck to the text.

Later I would love the ones that didn’t read faithfully from the record’s embedded book but had music. My brothers had most of the Disney albums and a few others. I listened to all them probably hundreds of times and they show the wear.

By the time we moved to St. Louis, I was heavily invested in Sonny & Cher records. I had a small stack by the time I was eight. My parents had their own collection of records, which they kept in a long gold rack. I re-organized their stack and culled out the Sonny & Cher (and Cher) records and put them in a smaller ornate gold rack my parents also had. The racks looked something like these:

This isolation was important because we had just moved from the desert of New Mexico to the alley of tornados in Missouri. And because we were not used to such scary weather systems, the whole family would scramble to the basement whenever so much as a weather watch was announced. My Dad even found us a special tornado weather radio.

But then after a while we became jaded and only headed to the basement if sirens went off in the neighborhood (which happened a few times a year). My self-appointed job was to make sure the dog make it to the basement and to save my Sonny & Cher records, which were helpfully sorted out for handy retrieval in the smaller record stand. There were so few of them an eight-year old could port them to safety in just one trip (along with the dog). You can see what I valued.

Dog, check. Sonny & Cher records, check. Parents and siblings, who?

And so yesterday the latest Cher record has arrived, Cher’s box-set re-release of It’s a Man’s World.

And this is all to say if you had told me back then, when I was stashing a modest amount of Cher records into a gilded, gold record stand at age eight, that one day I’d have so many Cher records, they wouldn’t even be able to fit into the largest plastic bin I could find, I would have told you to Shut! Up!

The Latest Record

So let’s talk about It’s a Man’s World, which was a very unusual Cher CD when it came out in the mid-1990s for the sole reason that it is the only Cher album with widely divergent UK and US versions. Many of her later-day Warner dance albums have small differences of a song or two from country to country (Living Proof had a Japanese version with extra songs, for example), but no other album was released twice with so many differences, not just the list of songs but track order and different mixes of songs. The UK album was released first by Cher’s new label after leaving Geffen, Warner Music UK (WEA) in 1995. A U.S. version from Warner Records (address in Burbank) arrived a year later in 1996.

The 2023 re-release is a re-release of the UK version (at least the track listing is).  I haven’t listened to it yet. Depicted below is the front and backside of all the releases (and my mix tape mashup of the UK/US versions):

The 1995 UK and 2023 Warner Bros listing:

1. Walking in Memphis – a Marc Cohen cover and hit in the UK at #11. This song did not chart in the US but was discovered anyway and is one of Cher’s underground hits among Cher fans and non-Cher fans alike.
2. Not Enough Love in the World – a Don Henley cover and a single in the UK at #31.
3. One by One – a hit in the UK at #7, a flop in the U.S. at #52.
4. I Wouldn’t Treat a Dog (The Way You Treated Me) – a Bobby “Blue” Bland cover.
5. Angels Running – a Patty Larkin cover.
6. Paradise Is Here – a non-charting single in the US and UK and a Paul Brady cover.
7. I’m Blowing Away – a Joan Baez cover.
8. Don’t Come Around Tonight
9. What About the Moonlight
10. The Same Mistake
11. The Gunman – a Prefab Sprout cover.
12. The Sun Aint Gonna Shine Anymore – #26 in the UK and a The Walker Brothers cover.
13. Shape of Things to Come – a Trevor Horn song.
14. It’s a Man’s Man’s Man’s World – a James Brown cover.

For some reason three songs were removed from the U.S. album and different versions included, which also had a lithograph on some versions of the CD:

1. One by One was changed to a slow-jam, R&B song and became so sleepy it could put you to sleep. Well, the more dance-oriented upbeat UK version (used in the video) was only slightly better. To add to its dullness, the video didn’t include Cher doing much more than waving her hands slowly around her face.
2. Not Enough Love in the World – here they tried the same trick, giving the song an R&B vibe where the UK version is lighter and more peppy.
3. Angels Running skimmed out the UKs drum intro and the slap-you-awake bridge, neither of which is needed for this beautifully melancholy song.
4. What About the Moonlight – the UK version was a sweet, dripping version with atmosphere and the US version, although not quite a dance mix, was too jaunty. Not the seriousness of a song that has Cher singing someone down from the ledge of depression. It shouldn’t be such a peppy mix.
5. Paradise Is Here – we had the opposite problem with this one. The UK version is too meandering for such a happy lyric. The song takes forever to get up and running. The US version is lightly more upbeat and happy.
6. The Same Mistake – the same versions.
7. Walking in Memphis – same versions.
8. The Sun Aint Gonna Shine Anymore – same versions.
9. The Gunman – the UK has a vocal intro and outro. I prefer the song cleanly without that.
10. It’s a Man’s Man’s Man’s World  – same versions.

My Mix-Tape Version

Frustrated with there being some good versions on the US CD and some good versions on the UK CD, I made my own mix-tape compilation as follows:

1. One by One (Junior Vasquez version) – The US slow version was really dull for me. But these days if you have a little patience with the song, it’s actually a sexy little burn. But back in the day, I preferred the remix.
2. Not Enough Love in the World (UK version)
3. What About the Moonlight (UK version)
4. Paradise Is Here (US version)
5. Walking in Memphis (Shut Up and Dance Mix) – I actually don’t know what I was thinking with this remix. It feels silly now. And the ending makes my head hurt.
6. The Sun Aint Gonna Shine Anymore
7. The Gunman (US version)
8. Shape of Things to Come (UK album song)
9. It’s a Man’s Man’s Man’s World
10. One by One (UK version)

Since they’ve re-released the UK version only, I suppose it’s now the canonical version. But is it really? Which songs should be the canonical versions? This issue is always complicated when a dance re-mix does better on the charts than the album version. But when there are multiple album versions to start with it’s a bigger quagmire. And if you lived in the US and didn’t have access to import albums, (I was in Yonkers at the time, living pretty close to Tower Records which had an import bin and plus I was mail ordering imports), you may have never even heard these UK versions before.

The 2023 box set is beautiful. And I’ve never had colored vinyl records so I’m really enjoying that.

I do notice two things, however. They don’t make record album covers like they used to. The cardboard for these new vinyl releases feels cheaply produced. You rarely got a paper-cut from an old vinyl album cover.

Also, there’s plenty of room in this big spacious box for a new lyric sheet (the original CD didn’t come with one either), maybe even on the back of that needless lithograph sheet (or on all that quadruple album gatefold real estate). And a retrospective liner-note essay is conspicuously missing. This is simply the re-release of the original assets, with a deluxe version that includes the remixes. That’s it. No Cher scholar is weighing in on the importance of the album, what made a re-release pertinent about now, and what all the versions mean. And that feels like a lost opportunity.

These song covers are inspired. Cher’s performances were unified and understated and unlike anything else she’d done since Stars in 1975. And now those US versions are downright rarities, unavailable anywhere to stream online and now a lost bit of gold for diligent collectors.