Perfect Sound Forever

JIM BASNIGHT


Confessions of a Power Pop Legend
Interview by Robert Pally, Part 2
(February/March 2020)



See Part I of our Jim Basnight interview


PSF: How come you changed your band's name to The Jim Basnight Thing for only one album in 1997? After that, you formed The Rockinghams and released the CD Makin Bacon' in 1999. What led to that?

JB: Chronologically, it happened in a different order. After the Moberlys lineup with Drewry, Keil and Oyabe split ways in 1989, Glenn and Toby left with keyboardist Roger Burg, who had worked with us in the studio in 1987 and joined the band in '88 to become Greenhouse in L.A.. Roger also contributed songwriting along the way, working with me on "One Night Away" from the Pop Top album and "City Life" from the Introducing Jim Basnight album.

Dave left to play with former True West front man guitarist Russ Tolman among a number of other LA based acts over the years until his unfortunate passing in 2016. It was especially sad to lose Dave then, as he and I had decided to get the Moberlys back together with Keil and Oyabe after a handful of reunion shows, capped by the August 22nd 2015 show, which is on YouTube .

We had planned another reunion for August 2016 and booked four dates in the Puget Sound area. When Keil and Oyabe weren't able to travel from L.A. and Indiana respectively, they were replaced on the dates by bassist Jack Hanan of the Rockinghams and guitarist Bruce Hazen who I'd worked with on a number of solo recording projects, including a number of tunes on Recovery Room and more than a few live gigs along the way in Seattle since the '90's.

Tragically Dave fell ill, so we used Dave Warburton as a substitute drummer on the dates. When Drewry failed to recover and sadly passed on in November 2016, we continued on doing dates with that line-up as the Moberlys in the Seattle area and still do. It's more or less a review of the songs of the band from 1979-89 and a lot of fun. Warburton was recently replaced by Zepp Zittle, who is doing a great job.

Getting back to your questions though, when the Moberlys split ways in '89, I went into a songwriting frenzy, with Czekaj, Alkes, Tommy Knight, Ted Myers, Wheeler (who had been Perry Farrell's writing partner and band mate in Psi Com, which evolved into Janes Addiction after Kelly left), Bloch, Rabinowitz (who had moved there), Patrick DiPuccio, Nino Del Pesco and other L.A. based folks.

Out of that era, a band emerged with Wheeler on guitar, Czekaj on drums and Bloch on bass, after Al left Concrete Blonde in 1990. The original drummer was Kelly's friend Danny Carey, who left to form Tool before our band did a live show, though we showcased for a few labels with that lineup. That band with Czekaj, played a number of dates in L.A. and Seattle as both Jim Basnight, the Skyscrapers and Crank. They were the core of the players who recorded a majority of tunes on the Pop Top album in 1990-92.

During this timeframe I was married for the first time to Anne "Deon" Deleonibus in 1989. The Moberlys split up, just as Anne and I were getting married. She was a very creative artist, actress and musician, who I played guitar with in NYC in the early '80's. We stayed in touch throughout the '80's, as good friends and mutual admirers and when she moved to L.A. in 1988, we became romantically involved.

I met Anne through Alan Vega and Marty Thau (of Suicide), not when I was there in '77, but when I went back in 1980. She had been Alan Vega's girlfriend for many years, going back to the early '70's at that time, but soon was dating former New York Dolls singer David Johansen. She was back and forth between those two for a number of years while we stayed "just friends." We hit it off really well though when she moved to L.A., but it didn't go well after we got married.

We split up and the new lineup with Bloch, Czekaj and Wheeler also splintered. I put another band together with Rand Bishop, who was producing the recordings on keys, adding Rabinowitz and another rhythm section of L.A. players, which did a number of gigs, but never recorded, though Rand and I were continuing work on overdubs for the recordings with a number of notable L.A. folks. I was also working as an investment broker from 1988-92, as well as playing music full-time.

Between the divorce, the revolving door of musicians and the realization that I didn't want to make the financial world a career, I decided to move to Seattle to spend time with my dad, who was diagnosed as terminally ill in 1992. I thought it would last three months, as the doctors predicted, but he hung in for well over a year, before passing on in November of 1993.

While in Seattle, I self-released the Pop Top album, my first on CD and started playing gigs with Jack Hanan, Sean Denton on guitar and Richard Stuverud on drums as Sway, as well as solo guitar gigs, which I'd been doing in L.A. since the demise of the Moberlys. Sway recorded some tracks, three of which I included on Introducing Jim Basnight- "Bad and Beautiful," "Looking Through Glass" (written with Stuverud) and "Burning in The Sand" (also with Stuverud).

Introducing Jim Basnight compiles five new tracks, followed by a backwards chronology of unreleased tracks of value from throughout my entire recording career, concluding with the only track I've released by the Meyce. The only song on it previously released was "Show Who You Are" which is on the 1979 Moberlys LP, but not on the 1996 Sexteen CD. Stuverud left the band, to go on to a number of bands, including Three Fish with Pearl Jam's Jeff Ament.

We replaced him with Criss Crass (Chris Utting), who left Warner Brother's act the Muffs to join us in 1994 and in doing so gave us our name, the Rockinghams. That band did a number of demos, which ended up as the Makin' Bacon album in 1999, though the band only played live together until 1998. The Rockinghams were a full on rock and roll band.

We recorded three tunes produced by former Washington Squares guitarist Bruce Paskow, who tragically died in the middle of the project, which were mixed and finished by Don Gilmore, who went on to a huge career as a rock producer in the '90's and beyond, including Korn, Eve 6, Good Charlotte, Duran Duran, Avril Lavigne, Train, Linkin Park, Sugar Ray, X, Pearl Jam and Temple of the Dog.

Those recordings included "Rock and Roll Girlfriend" (written with Paskow and finished with Hanan and Utting), "Hello Mary Jane" (written with Rabinowitz and done prior on Pop Top) and "Uncertain" (a remake of a Moberlys tune). After that session, Denton left the band and we decided to continue as a three piece. The Rockinghams then recorded with "Eric 4-A," "Lattes" (written with Pascow), "Baby Jane" and "More Than One Way" (a re-make of a Moberlys song, which Utting added a verse to).

Our next set of recordings was with producer-engineer Mike Foss and included "Played a Trick" (written with Hanan), "Need a Car" (with Hanan), "So Glad You Came" (with Hanan and Barry Gruber, who was also the executive producer who financed the Paskow/Gilmore sessions and the Jim Basnight Thing album), "Space" (with Hanan), "Middle of the Night" (with Hanan and Utting, but based on a tune I wrote in LA with Rabinowitz), "Ho Chi Minh" (with Hanan) and "Rock and Roll Cowboy" (a Cowboys cover, written by Hanan, Cerar and the late Ian Fisher, no relation to Ben Fisher/Rabinowitz).

The 'Hams also recorded "She Gives Me Everything I Want," a Hollies cover, with current Heart drummer Ben Smith (who played on most of the Jim Basnight Thing and Recovery Room albums and the five new tracks, plus one 1996 track "Livin' a Lie" on Introducing Jim Basnight) and former Heart guitarist Scott Olson producing. That song and "Rock and Roll Cowboy" will appear on my cover song album. Those 14 tracks make up the Makin' Bacon album.

Over the course of the years (1994-98), I was kicking out wild rock and roll and punky power pop with the Rockinghams, I was also doing solo guitar shows. That act started becoming an acoustic band, first with the addition of acoustic (standup) bassist John Sampson and his wife Polly on trumpet and Clayton Park on violin. That band became known as the Jim Basnight Thing, probably because it was such a different sound for what I had been known for, but it was still my "Thing" in every way.

In 1996, we recorded "Livin' a Lie" (with engineer Daniel Casado), adding to that lineup drummer Ben Smith (who had produced the Rockinghams), his wife Libby Torrance and trumpet man Jim Knodle. After the passing of Paskow, Gruber (who was his executive producer) and I worked together on some of his recordings and in return he allowed me to record some of my songs with his studio band, which was comprised of Garey Shelton on bass (with whom I worked on the tracks for the musical Little Rock with Utting and co-composer Richard Gray on Piano) and Smith.

I also recorded an acoustic version of the Rockinghams tune "Lattes" (with Gray on piano) with much different lyrics for a Starbucks compilation called Songs About Coffee, which was test marketed in Starbucks locations around the world, but never released after the corporation decided to merge with Blue Note for their in-store music project. I got enough of a budget though, to record the better part of three other tracks with this band, which included Smith, Knodle, Park and Shelton.

Those tracks included "Don't Wait Up" (written originally with Alkes and finished with Gruber, the recording included Pearl Jam drummer Matt Chamberlain on hand percussion), "Mexico," "I'll Be There" (written with Gruber and featuring "Lightning" Joe Meyering on harmonica) and "Hell in A Nutshell" (which also featured Torrance on backing vocals). Gruber started a label at that time and asked me to work there and as part of my compensation, he allowed me to produce two sessions. One was with Sampson on acoustic bass, Smith on drums, Park on violin, Torrance on backing vocals and Knodle on trumpet and included "Red Light Moon," "Cinderella Dreams" (written with Tommy Knight) and "Happy Birthday" (written with Gruber). The other was with Shelton on electric bass, Smith on drums, violinist Geoffrey Castle (a.k.a. Sick), Knodle on trumpet and Torrance on backing vocals. That second session included re-makes of the Moberlys "Alone with Her," "Elma" and "Summertime Again" (written with Rabinowitz) and "No More War" (written with Alkes). Those 12 tracks made up the Jim Basnight Thing album, which came out before the Rockinghams Makin' Bacon, but much of which was recorded after the Rockinghams had already been gigging for a good while. The Rockinghams released an EP and a number of tunes on compilations, prior, but the album came out a little over a year later. It also took a long time for the Makin' Bacon album to be released, as it was scheduled out ahead by the label Not Lame in Denver CO.

It was probably because I was working for Gruber's label, that I was able to get that going quicker. Gruber fell ill and his Band Together label was disbanded, but I was able to get ownership of the album and a small budget to press and promote it (which I did on my label), as part of my severance. Unfortunately, the Rockinghams weren't able to record a number of other cool songs that we were working on. We did demo versions of a number of them with Casado though.

Later on, when I was recording tracks for Recovery Room, I was able to record six of them in 2003-04 with Hanan on bass, Smith on drums and Hazen on guitar. Those tunes were "Miss America" (written with Hanan), "Python Boogaloo" (with Hanan), "Microwave" (with Hanan), "Look Inside" (with Hanan), "Minute Just a Minute" (with Hanan) and "Ripple In The Bag" (with Hanan). Recovery Room took a long time, mostly because I was so busy, as was Garey Shelton, who co-produced and engineered it.

During this time, in between Makin' Bacon in 1999 and Recovery Room in 2004, I released the Seattle-New York-LAalbum (2001) and 12 different compilation tracks, including four tribute album tracks. I was also working all over a seven state area, as well as working as a middle agent, concert producer for casinos and fairs. Really busy and on the road constantly.

The bass playing was split on Recovery Room between Mikel Rollins (who has been the common denominator of the Jim Basnight Band, playing bass, as well as sax, flute, harmonica, percussion and guitar, over the course of the last 23 years) and Hanan. Rollins played bass on "Guilty" (written with Wheeler), "Something Peculiar" (with Gruber and Knodle), "The Heart," "Comfort Me" (with Andromeda Spitz, a then teenage girl I met in Stanwood WA, where I moved with my second wife Carol McConnell in 1999), "Brother Louie" (a Stories cover I recorded for a tribute to the Left Banke, which will be on the cover song album), "Riding Rainbows" (with Torrance), "Princess" and "Swoon" (written with Knodle and Hood).

Susan "Suze" Sims was all over Recovery Room and was primary female harmony vocalist in the live show for most of that 1998-2004 timeframe. She sang harmonies on every track, including "You Showed Me." The late Marcella Carros also did a number of live shows, especially longer road trips in that time frame and sang on "Swoon," "Ripple in the Bag," "Minute Just a Minute," "Look Inside," "Python Boogaloo" and "Miss America."

Smith played drums on every track on Recovery Room except "Brother Louie" which featured Michael Slivka, who we loved for his deep groove funky feel. Slivka also played (along with Rollins) on the cover version of "You Showed Me" (the Gene Clark and Roger McGuinn tune, which the Turtles made a top-10 hit in 1968), which will be in the cover song album. Hazen played guitar on all of the Hanan co-writes, except "Microwave" and "Python" (Bruce sang harmonies on it though).

Rollins played flute on "Swoon." Knodle played trumpet and Castle played electric and acoustic violin on "Something Peculiar," "Microwave," "The Heart," "Comfort Me," "Brother Louie," "You Showed Me," "Riding Rainbows," "Princess" and "Swoon." I sang lead and backing vocals and played a variety of guitars, as I did on Makin' Bacon and The Jim Basnight Thing.

Recovery Room, which was never released with a cover and a bar code, and never digitally released and was only sold on the bandstand at live shows before the era of social media, is an album which deserves to be released officially, especially in today's musical environment. It is very deep and does not sound dated. Perhaps since the two covers will be taken off it, it could be released as a 12 song album. That's plenty of tunes and perhaps a remastering job could make a splash in the 2020's, as could Thing, Makin' Bacon, most of Sexteen, Seattle-New York-Los Angeles and Introducing.

None of those have been released digitally. The only CD's which have digital releases of any kind are Not Changing, Pop Top and the 2008 career retrospect CD album We Rocked and Rolled from the NY based Disclosed Records label (it was their one and only release) are the only albums of mine which have been released digitally. Select songs from all of my albums prior to Not Changing (other than Introducing) were included on We Rocked and Rolled.

That leaves a lot of material which has never had a chance to be shared digitally. A lot of potential digital singles. A lot of good tunes. A lot of good performances. A lot of rock and roll.


PSF: After that, you released two albums with old songs (Seattle-NY-LA in 2004 and Introducing Jim Basnight in 2012). What triggered that?

JB: Seattle-New York-Los Angeles was actually 2001. The reason it came out was because I wanted to follow up the SexteenCD album, with one from the 2nd major version of the band, that being the one that lasted the longest and involved Dave Drewry as its common denominator. I explained that before and though there were a number of songs on the album which had been released in the 1980's on the SexteenLP on Lolita, there was a good album's worth of tunes that weren't and none had been released digitally.

As far as Introducing Jim Basnight in 2012, it had been a long time, since Recovery Room CD album (2004), the Jim Basnight and the Moberlys Pop Pleasure LP (Rave Up Records Italy 2006), Jim Basnight and the Moberlys Return CD album (Wizzard-In-Vinyl Japan 2006) and We Rocked and Rolled CD album (Disclosed Records USA 2008). I wanted something new to sell at gigs that had new songs, a bunch of unreleased Moberlys and other cool selections.

Like Recovery Room, it's never been released digitally or with a cover in stores, just sold off the band stand in clear jewel boxes, with all of the information imprinted on the disc. I think people would appreciate that in today's music business, as it were. I thought it would be a great album. I still think it's a very cool album. There are some tracks that have become live standards for the band, like "Sea of Blue" and "Bad and Beautiful" and we also like to do "Stay to the End."

"Stars in Time" (written with Knodle) is a tune that is begging for a comeback and also featured Rollins on flute. Just a cool feel that always gets people's attention. I'd love your impression of all of these tracks and tunes.


PSF: In what way do I have to understand the title of your new album Not Changing?

JB: It means what it means to you. The title song is open to interpretation and it could mean something very different to you than it means to me. I choose to leave it there. If anything, the album is a big change for creating rock and roll, from my perspective. To me, it was a very unusual method to record rock and roll and I really like the results. What co-producer Garey Shelton and I did, was record song demos with me on my acoustic guitar and vocal of over 40 songs. around ten of them were covers.

Of those covers, all that ended up being recorded was a medley, which combined three of them. That one, titled "Prince Jones Davies Suite," is a medley of "April Snow" by Prince from the mid-'80's, "Win" by Bowie from the mid-'70's and "World Keeps Going 'Round" by the Kinks from the mid-'60's. What resulted, will be on the covers album in 2020 and I really like it.

The rest of the tunes we listened to constantly over a period of weeks until we arrived on 14, because that's how many the Beatles UK albums had. The next step was to record a great version of each song live, with me on the acoustic 12-string Ovation "Elite" guitar and lead vocal and Garey on bass. We cut those tracks, until we found that "magic" take of the song. Then we built the track up from there. The next thing we did was drums and Warburton did a phenomenal job of "hitting a moving target."

When you record without a click track or a drum machine, the track slows down and speeds up, does imperfect breaks and creates other human-sounding moments. We wanted that as much as possible. Dave did a superb job and it took a lot of practice on his part to become such a seamless part of that end product. After that, I cut all of my electric and acoustic guitar overdubs, then sang more vocals, most of them low harmonies, spoken and counterpoint.

Then Steve Aliment came in and sang all of his harmony vocals, most of them high harmonies, but some contrapuntal. After that, Bruce Hazen came in and added brilliant electric guitar on "Code to Live By," "Big Bang," "Avenue of the Star," "Making Love For A Living," "Never Get Lost" and "Prince Jones Davies Suite." Finally, Jay Phillips came in to do the DJ spoken part on the intro of "Living The Way I Want." I also did a few more backing vocals after that. All of the electric guitars were played through the "Eleven" box.

To summarize, we wanted this album to sound like it was recorded between 1968 and 1974. I think we did that and did so with the help of digital technology, as far as editing and sound processing. Other than that, it was overtly contrary to the perfectly timed rhythm track and digitally built songs which I've come to believe impedes the voice in the human soul which creates song.


PSF: One song on Not Changing is called "Kurt Cobain." Some people call you the forefathers of Grunge ("She Got Fucked"). Is this your confrontation with Grunge?

JB: Kurt Cobain was a person I came close to working with. A mutual friend of ours suggested that I could possibly help him find his muse as he was experiencing a writing block and that he really liked good pop. He said that it was a bad time for Kurt, as he was having a ton of personal problems and was being very difficult. He said that hopefully in a month or so, he'd be in a space where that might make sense. Needless to say, that time never came.

It was sad that I never got a chance to meet him, whether or not we would have hit it off creatively. I wrote this song because I feel like behind the legend was a person there who was obviously gifted, driven and tragically flawed. He wasn't, isn't and won't be the only one, but I wanted to share my feelings about him and his unique musical legacy. Mostly, I feel it is good song that is uplifting and subtle. It's also open to interpretation. It could mean anything to anyone.

I also feel it is a different song which gives the album another texture and a rock and roll story to boot. Rock and roll, as I'll expand up on much more in my Sonny Boy Williamson biography, is chartered by a series of archetypes. "Sonny Boy" (Alex Miller) "ran with" a number of people in the Mississippi "Delta" in the 1930's who went on to fame and legend. Some are well known. Some are yet to be recognized for their importance. One was Robert Johnson, the most legendary among them. He died a mysterious, rather rock and roll death, at the age of 27. So did Kurt and a number of other notables. When I was in Mississippi, at the Grammy Museum in Cleveland MS, there was an exhibit. It showed the "Arc of Rock and Roll" and started with the early electric blues players and how they set the blueprint truly for rock and roll in the late 1930's and early 40's. Sonny Boy was represented there. The Arc continued left to right, though the birth of R+B, rock and roll, rockabilly, the golden age of rock and roll, renewal via the British Invasion, Motown, Psychedelia, FM-Rock, Woodstock, Soul, Southern Rock, Glam, Progressive, Funk, Mega-Tours, Punk, Disco, New Wave, MTV, Heavy Metal, Rap, Alternative and finally Grunge. It stated that Kurt was the "Last Rock Star." That was also part of the meaning behind my song.

I think behind my song is a nagging hope that it doesn't have to be that way and perhaps by understanding this history, one could extend the arc of rock and roll indefinitely.


PSF: One should listen to your new album because...?

JB: It is something different and created for the love of rock and roll.


PSF: A good song needs...?

JB: Someone who thinks it's good, because it makes them feel something very intense or true to life.


PSF: How far is your multimedia project about Sonny Boy Williamson"? What made you start this?

JB: It goes back to the beginnings of who I am. It's the story of rock and roll until 1965, when I was just starting to be aware of it. I got a transistor radio, started collecting records, started trying to play songs on the guitar and saw the Beatles movie Help. Those were all things that happened the year Sonny Boy passed on. His story is what happened up to that point.

The first blues record happened in 1920 at the time when he played his first public performance at the "Black" church on the plantation he lived from age one through 17. It was also only 100 years ago. This is all very new and his story led us through the birth of radio, jukeboxes, records, record players, the unraveling of Jim Crow, DJ's, R+B, rockabilly, rock and roll, television, the civil rights movement, the British Invasion and finally the Civil Rights Acts and Voting Rights Acts.

A friend, who passed on in early 2017, did a bunch of research on Sonny Boy in the '90's, but left it dormant for about ten years. He got the funding to move it forward, but could not physically do the work, so he reached out to me. I worked on filling out his research, while doing research of my own for five years, but when he passed on, his family didn't want to do what we had planned to finish the project. I continued in 2017-19 compiling research as I could within the time I had available.

I've recently found funding to finish my own biography on the subject. It will chronicle Miller's life story and musical legacy and will be based solely on my research, including leads that my friend and many others gave me and published material unearthed by others. I also have nearly 100 filmed interviews that I produced and intend to complete a documentary on Sonny Boy based on the story.

I also intend to create a pilot and a season of episodes for a dramatic series based on the story, as I believe the story fits that platform best. There are so many interesting personalities and famous names he crossed paths with and so much history, where he was front and center. It's a story that must be told and I feel I am uniquely situated to tell it.

I'm hoping to attract the funding to do the documentary and the show bible for the series, but for now, I'm solely focused on the biography, which I will deliver in 2020. I think it is a very important story that will serve to bring forward the truth about a lot of things to a lot of people, in regards to American Music History and African American History. I am determined to give it everything I have to offer.


PSF: How far is the original cast album for your rock musical Little Rock? Where did came the idea for this come from?

JB: It's finished. I would just need to master it, just like the covers album. It is my intention to release it in 2020. It just depends on what my time and resources which allow me to do. It is also an important story about the integration of the first public high school in a major city in the "Deep South" in 1957, on the heels of the Brown v. Board of Education in the US Supreme Court in 1954.

It is set to music, which was my department, along with co-composer Richard Gray and touches on the music of the Mississippi Delta (blues, country and gospel), which is really the core of what gave birth to rock and roll. It's of course musical theater styled and a definite nod to '50's pop. I feel that the songs stand the test of time, since it was recorded, immediately after the original cast production closed its run in Seattle in 1995.

It also had theatrical runs in Pittsburgh, Washington DC, Minneapolis, Little Rock and a few other places, but was such a big production, it was hard to get off the ground. I think the subject matter is more timely now, as we move into the 2020's. It may be suitable for a re-written revival, but regardless, the music needs to be heard. I recently got the word that I can release it on my Precedent label and I look forward to seeing if people agree with me once they hear it and perhaps read the script.

The idea for this was not mine, but in fact Director Linda Hartzell from Seattle Children's Theater who produced it in the mid-'90's. But I now see the potential of this show more than ever and am going to give fans of my music, those who are interested in this historical topic and today's theater pros, a chance to experience it.


PSF: You had some up and downs in your career. What kept you going?

JB: Really simple. My grandfather told me that self-respect and persistence was what mattered in life and as I grew up, I found it to be true. I saw a number of people give up dreams for practical, rational paths. I saw a number of people destroy their souls in self-destructive ways. After doing a few side trips, I realized that, rock and roll was what made me happy and that if I was persistent and worked very hard, I could play rock and roll and have a lot of other deeply important experiences.

Those experiences included raising a child, maintaining a home and being part of a loving family. To me, there is no such thing as bad luck. It all boils down to persistence and keeping your focus until the goals and dreams you imagine take shape. I've been very happy to have seen that happen and continue to happen in my life. I believe, I really do, that the most successful phase of my career is in front of me. One friend of mine said I am the most optimistic rocker of all time.

That my theme song was "Live in the Sun," a song of buoyant, even manic optimism, was emblematic of my musical and theatrical identity. I'd like to think my songs and my persona are much more complex than that as a whole and that song is not my best number, if I had to pick one. But that assessment of who I am does not bother me.


PSF: What was the highpoint of your career?

JB: There are so many great moments. I would never change a thing. I've made mistakes, but at the heart of my missteps were me doing what I believed to be right and standing my ground for what I honestly felt was important. Too many up's and down's to mention any one, but I guess it comes down to one moment. When I first started to write songs and really hit my stride doing it in around 1976- that was such an empowering feeling and it defined who I was and where I belong in the world.

The Kinks tune "This Is Where I Belong" is almost my theme song and I'm glad to say that Hanan, Hazen, Warburton and I recorded it in 2018 and that it will appear on the covers album in 2020.


PSF: What is your favorite Christmas song?

JB: "Sleigh Ride" is the song I like playing the most of all of the big Christmas songs and there is a really cool version by the Ella Fitzgerald. The Ronettes did it, which is much more rock and roll, but they never went to the bridge, which I love too. Sing it Ella:




Basnight's new album is Not Changing (Precedent Records). See more about him at his website.


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