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Tomorrow Never Comes

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Opinião do 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.

Biografia

Nascido em: August/08/1942 em Hugo, OK

Gênero: Pop

Anos em atividade: '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...
Biografia completa
Tomorrow Never Comes, B.J. Thomas
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