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Tomorrow Never Comes

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Reseña de álbum

Tomorrow Never Comes had the kind of mid-'60s music that's never gotten too much critical attention, perhaps because it was simultaneously so mainstream in tone yet too eclectic to easily classify. Still recording in Texas under the production of Huey P. Meaux, B.J. Thomas sang diverse material that blended varying degrees of pop, rock, country, soul, and swamp pop. Stylistically it's an impressive mixture, and Thomas's voice is pleasantly strong though not remarkably expressive or distinctive. However, none of the songs — largely written by his early associate Mark Clarron (who also helped with the arrangements) — were all that special, though they were okay. None of them were hits, either, though "Daddy" is a dripping-sentimental gender rewrite of his mid-1966 hit single "Mama." That's a somewhat strange cut, as is "Plain Jane," a song about a girl who commits suicide after a prank fake invitation to the prom. So is "The Rains Came," which is the same Meaux song that the Sir Douglas Quintet had a raucous Tex-Mex stomping hit with, but which here gets an unrecognizably slow ballad arrangement that changes the melody substantially as well.


Nacido(a): 07 de agosto de 1942 en Hugo, OK

Género: Pop

Años de actividad: '60s, '70s, '80s, '90s, '00s, '10s

B.J. Thomas (born Billy Joe Thomas) straddled the line between pop/rock and country, achieving success in both genres in the late '60s and '70s. At the beginning of his career, he leaned more heavily on rock & roll, but by the mid-'70s, he had turned to country music, becoming one of the most successful country-pop stars of the decade. Thomas began singing while he was a child, performing in church. In his teens, he joined the Houston-based band the Triumphs, who released a number of independent...
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Tomorrow Never Comes, B.J. Thomas
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