I’m not a real believer in B.J. Thomas. He’s got a great voice but (to me) he doesn’t put any personality into his records. I don’t think he cares or even thinks about what the songs are about.
When he sings “Do What You Gotta Do”, a great Jim Webb song (that Nina Simone crushes), he sings the line “find that dappled dream of yours” (great, wonderful, true art) as “find that dapper dream of yours” (makes no sense). That’s a “no” in my book.
So, lets forget about “Raindrops Are Falling On My Head”, which we’ve all heard plenty of, and listen to a few versions of the wonderful “Do What You Gotta Do”.
B. J. Thomas, “Do What You Gotta Do”:
Nina Simone, “Do What You Gotta Do”:
The definitive version for me. She’s the only one who puts the emphasis of the song in the correct place (even the composer doesn’t do it this way) when she sings “I’ve loved you better than YOUR OWN KIIINNN! did”. That’s why her version wins, but it’s really everything. Marvelous interpretation. As in, this is why people write songs and enjoy songs.
BONUS TRACKS
Clarence Carter, “Do What You Gotta Do”:
Wow, this one’s very good. He says “find that doubtful dream of yours.” There are plenty of examples of Clarence Carter mishearing lyrics and thereby improving them. (I’m very Team C.C.)
Roberta Flack, “Do What You Gotta Do”:
Very pretty. Like in many Roberta Flack interpretations, she ignores the melody the songwriter composed and substitutes her own. She does have a beautiful voice, and she does sing the words so you understand them. This is very nice, a lot of heart in it, but I just like the original melody, and it’s not here. (Though the last time through, it sounds like she sings “find that baffled dream of yours”? Maybe I misheard.)
Johnny Rivers, “Do What You Gotta Do”:
A natural singer who always sounds like he’s ready to move on to the next song, his country radio voice and demeanor is just too unromantic for this material. He doesn’t wreck it. Not great though.
Jim Webb, “Do What You Gotta Do”:
The composer takes on his composition. He sings it like he’s already over it (go back and listen to Nina Simone; she sings it like she’s _pissed_and dejected). That’s a fair way to read the words, but not a great way to read the words. Jimmy Webb is capable of really good interpretations of his own songs, but this is just like countrypolitan shoe polish. Pointlessly slick arrangement.
Tom Jones, “Do What You Gotta Do”:
This is super! Tom Jones can only give 110%, so he does it here, with a lot of sensitivity to the meaning of the words. This is nothing like a dejected, rejected lover admitting defeat, and saving face (like Nina Simone’s version is; the correct interpretation), but I don’t think that would ever happen to Tom Jones, so this is more of a kiss-off with a hint of “you’ll be back, it’s cool”.
Al Wilson, “Do What You Gotta Do”:
This is good. Actually, this is very good. Sometimes Al Wilson just sounds glad to be here. When he was on the Midnight Special TV show, Dr. Hook were the hosts. They’re wasted, and they’re jiving coarsely with Al, who just seems baffled and intimidated by the whole thing. At one point he says (paraphrasing): “I also…I also have a degree in electrical engineering”, like he wants no part of this music thing. His hits “The Snake” and “Show and Tell” are good ones though. A great talent. I don’t think he found a unique voice of his own. He still deserved to be heard more.
Linda Ronstadt, “Do What You Gotta Do”:
By the end this is just a showcase for her amazing pipes and an overpaid arranger, but in the first half, when she’s just singing the song without trying so hard, it sounds really sad. That part is better.
