[Approximately 73:30 Total Time]

1. For What It's Worth 2:23

2. (Just Enough To Keep Me) Hangin' On 3:18

3. (Sittin' On) The Dock Of The Bay 2:41

4. Tonight I'll Be Staying Here With You 3:08

5. I Threw It All Away 2:49

6. I Walk On Guilded Splinters 2:32

7. Lay Baby Lay 3:36

8. Please Don't Tell Me 3:37

9. Cry Like A Baby 2:46

10. Do Right Woman, Do Right Man 3:20

11. Save The Children 2:54

Tracks 1 to 11 taken from Atco album SD33-298 '3614 JACKSON HIGHWAY'

12. Easy To Be Hard 3:43

13. I Believe 3:56

14. Danny Boy 5:20

15. Mama Look Sharp 3:33

16. It Gets Me Where I Want To Go 3:10

17. You've Made Me So Very Happy 2:44

18. Yours Until Tomorrow 2:52

19. The Thought Of Loving You 2:25

20. The First Time 3:25

21. Chastity's Song (Band Of Thieves) 3:08

Tracks 12 to 21 taken from assembled, but never released, untitled Atco album and are in MONO
A Few Additional Source Notes For Observant Collectors:
Tracks 17 and 20 taken from Atco single 45-6713
Tracks 18 and 19 taken from Atco single 45-6658
Track 21 taken from A-side Atco single 45-6684

22. Chastity's Song (Band Of Thieves)

Track 22 taken from Atco album SD33-302 'CHASTITY: ORIGINAL MOTION PICTURE SOUNDTRACK'

23. Superstar 3:09

Track 23 taken from A-side Atco single 45-6793


"God is in the details", said Gustave Flaubert, but had he been with Cher in Muscle Shoals, Alabama in April 1969, he might have used the equally popular version of that quote: "The devil is in the details".

At Muscle Shoals Sound Studio, 3614 Jackson Highway, Pop Diva Cher was immersed in a swampy southern Soul miasma. Spurred by record company handlers and gritty rhythm and blues support, she strutted with attitude yet cried with the softness of a new mother.

The resulting album was titled '3614 Jackson Highway'. Think 'Dusty In Memphis' with a Cherokee twist. The cover even showed Cher in a beaded Indian outfit with moccasins and headband.

Despite its undeniable artistic merits, Cher's '3614 Jackson Highway' quickly sank into obscurity. To this day, Cher's entire solo stint on Atco has been utterly neglected. But thanks to Rhino Handmade, the devilish DETAILS of this pivotal period can finally be examined.

In 1969-70, Sonny & Cher were running for their lives, pursued by debt that threatened to bury their career achievements and future prospects.

Cher's '3614 Jackson Highway' album represented just one facet of a sweeping re-invention program masterminded by Sonny Bono with the help of manager Joe DeCarlo. Driven by financial need, Sonny's ambitious, multi-directional effort was also inspired by the birth of daughter, Chastity Sun Bono on 4 March 1969.

The re-invention blitz included:

New musical director Greg Poree (March 1969-May 1970),

Sonny & Cher's new adult-oriented live act,

Sonny & Cher's "You're A Friend Of Mine" / "I Would Marry You Today" (Atco single 45-6683, Cash Box review 31 May 1969),

Cher's "I Walk On Guilded Splinters" / "Chastity's Song (Band Of Thieves)" (Atco single 45-6684, Cash Box review 14 June 1969),

Cher's 'Chastity' film (Variety review 25 June 1969),

The 'Chastity Original Motion Picture Soundtrack' (Atco album SD 33-302, Released 20 June 1969, Billboard review 26 July 1969),

Cher's '3614 Jackson Highway' (Atco album SD 33-298, Released 20 June 1969, Cash Box review 26 July 1969) and

Cher's "For What It's Worth" / "(Just Enough To Keep Me) Hangin' On" (Atco single 45-6704, Billboard review 16 August 1969).

When the blitz began, Sonny & Cher were still not legally married. So on the 'B' side of "You're A Friend Of Mine", Sonny reaffirmed his intentions by reviving "I Would Marry You Today", the last gleaming remnant of his psychedelic 'Inner Views' (Atco album SD 33-229, full page ad in the first issue of Rolling Stone 9 November 1967). See Rhino Handmade's expanded edition of Sonny's 'Inner Views' (CD RHM2 7704, released 11 October 1999, Billboard 11 December 1999, MOJO review February 2000, Record Collector review March 2000).

According to his 1991 autobiography 'And The Beat Goes On', Sonny was excluded from all decision making aspects of Cher's '3614 Jackson Highway' album: "Not only did I lose my role as producer, my credibility went out the window too".

Sonny excluded from a Cher project? What?! He had practically CREATED Cher! By early 1969, Sonny had produced six Top Ten records and penned numerous other chart items!

But Sonny & Cher hadn't had a big hit since "The Beat Goes On" (Atco single 45-6461, Billboard review 7 January 1967, entered Billboard 14 January 1967, #8). And their most recent chart entry had been the Mark Barkan-penned "Good Combination" (Atco single 45-6541, Billboard review 9 December 1967, entered Billboard 16 December 1967, #56). The follow-ups, "Circus" (Atco single 45-6555, Cash Box review 10 February 1968) and "You Gotta Have A Thing Of Your Own" (Atco single 45-6605, Cash Box review 17 August 1968), had not charted at all.

And when Cher joined Sonny & Cher on Atco in late 1968, her most recent solo hit was "You Better Sit Down, Kids" (Imperial single 66261, entered Cash Box 28 October 1967, #8). Her final Imperial single, "Take Me For A Little While" (Imperial 66307, released 7 June 1968), had not charted, leading to the kiss of death 'Cher's Golden Greats' (Imperial album 12406, entered Cash Box 16 November 1968, #74, Billboard #195).

Sonny did produce Cher's Atco debut, "Yours Until Tomorrow" / "The Thought Of Loving You" (Atco single 45-6658, masters assigned 7 January 1969, Billboard review 8 March 1969). Despite excellent Don Peake arrangements and a few trade magazine ads, the single vanished without a trace.

So Atlantic Executive Vice President Jerry Wexler, Atlantic Vice President In Charge of Engineering Tom Dowd and Atlantic A&R director Arif Mardin produced Cher's '3614 Jackson Highway' album. Not coincidentally, the same team had recently produced Dusty Springfield's 'Dusty In Memphis' (Atlantic album SD 8214, released 17 January 1969, Cash Box review 1 February 1969, entered Billboard 15 March 1969, #99). According to 'Rhythm and the Blues: A Life in American Music' by Jerry Wexler and David Ritz, all vocals on 'Dusty In Memphis' were cut in New York.

Regarding Cher's '3614 Jackson Highway' sessions, Wexler wrote, "I picked up pneumonia and went to the hospital before the actual singing started, so Dowd and Mardin took over. I never made it to the control room." Jerry Wexler did select the songs for Cher's album, including three controversial tunes from Bob Dylan's just-released 'Nashville Skyline' album (Cash Box review 19 April 1969).

The '3614 Jackson Highway' sessions day by day:

Monday, 21 April 1969: Eddie Hinton's "Save The Children" (strings, French horn, no backing vocals) and Dylan's "I Threw It All Away" (Soul horns, gospel backing vocals).

Tuesday, 22 April 1969: Dylan's "Tonight I'll Be Staying Here With You" (Soul horns, no backing vocals).

Wednesday, 23 April 1969: "Do Right Woman, Do Right Man" (assertive, at times indignant lead vocal, Soul horns, no backing vocals), "For What It's Worth" (male and female backing vocals), "(Just Enough To Keep Me) Hangin' On" (strings, gospel backing vocals) and the unreleased now lost Laura Nyro cut "Wedding Bell Blues" (Master 17005).

Thursday, 24 April 1969: "(Sitting On) The Dock Of The Bay" (Soul horns, no backing vocals or whistling at end!) and "I Walk On Guilded Splinters" (Soul horns, backing vocals, sizzling organ).

Friday, 25 April 1969: the unreleased and now lost Eddie Hinton-Dan Penn-Wayne Jackson cut "Always David" (Master 17007). Marlin Greene soon produced a hit version of "Always David" by Ruby Winters (Diamond single 265, Billboard review 30 August 1969, Billboard R&B #23). In February 1969 The Sweet Inspirations had recorded "Always David" (Master 16453, 'Sweets For My Sweet,' Atlantic album SD 8225 released 20 June 1969) at FAME with Mardin, Dowd, Johnson, Hinton, Beckett, Hood and Hawkins. The Sweet Inspirations' excellent version of "Always David" (3:26) can now be heard on the Stereo 'Sweets For My Sweets' reissue CD (Spy 46004-2, released 19 November 2002).

Saturday, 26 April to Tuesday, 29 April 1969: Sonny & Cher in California to visit seven-week-old daughter Chastity.

Wednesday, 30 April 1969: "Cry Like A Baby" (Soul horns, restrained backing vocals) and "Please Don't Tell Me" (strings, no horns or backing vocals). This date also included the unreleased and sadly, now lost Sonny & Cher track "Honey Lamb" (Master 16887).

Sonny & Cher then flew to London to appear on ABC-TV's 'This Is Tom Jones' Friday, 2 May 1969. The duo performed "Yours Until Tomorrow" and "Just A Little", the unreleased Gold Star version of which had been recorded 26 March 1969 (Master 28664). Interviewed by New Musical Express ("Sonny & Cher Kill Old Image", 10 May 1969), Sonny focused on the 'Chastity' film with no mention of Alabama. The couple next traveled to New York for a spot on ABC-TV's 'Joey Bishop Show' Friday, 9 May 1969.

Sonny & Cher returned to Muscle Shoals by Wednesday 14 May 1969 to cut Cher's "Lay Baby Lay" ("A Whiter Shade Of Pale" organ, no strings, horns or backing vocals).

'3614 Jackson Highway' was previewed for Atlantic Records' promotion and sales departments at the Hilton Plaza Hotel in Miami 23-25 May 1969 and officially presented at summer sales confabs in Chicago, New York and Hollywood 20 June 1969.

Reflecting Atlantic's high expectations, the vinyl album was unleashed in a Stereo commercial version, an alternate Stereo Promotional version and a CSG (Compatible Stereo Generator) Monaural Sample version. '3614 Jackson Highway' also saw release on cassette, reel-to-reel and 8-Track tape.

In addition, Atco delivered a seven inch Promotional EP: "(Sittin' On) The Dock Of The Bay" / "(Just Enough To Keep Me) Hangin' On" / "For What It's Worth" / "Please Don't Tell Me" (Atco EP 4537, Stereo and Mono editions).

The commercial fortunes of Cher's '3614 Jackson Highway' may have been adversely affected by the album's packaging. For example, the only colour photo of Cher was hidden in the interior of the flimsy UNIPAK gatefold sleeve. And the all-important song titles were not even listed on the exterior of the album cover.

And the entire album concept centered on the address of a brand new, completely unknown studio. Cher's 21 April 1969 "Save The Children" date was the first session ever held at Muscle Shoals Sound. The studio did not generate a hit until the Ahmet Ertegun-produced "Take A Letter Maria" by R. B. Greaves (Master 17634 recorded 19 August 1969, Atco single 45-6714, Cash Box review 27 September 1969, entered Billboard's Bubbling Under 11 October 1969, #2).

Fred Bevis originally converted 3614 Jackson Highway into a four-track recording studio. Various sources claim the location was formerly a funeral home, casket warehouse or casket factory.

In early 1969 Jimmy Johnson (guitar), Eddie Hinton (guitar), Barry Beckett (piano, electric piano, organ), David Hood (bass) and Roger Hawkins (drums) purchased the building for $14,000 and upgraded to eight-track. The musicians previously served as the house band at Rick Hall's nearby FAME (Florence Alabama Music Enterprises) studio in Muscle Shoals.

"A lot of the artists we worked with, especially at first, thought we were black", Hood told the Times Daily. "I was flattered by that, because most of the artists we liked were black. We loved that music, and we felt we had earned the right to play it".

Before founding Muscle Shoals Sound, varying combinations of Johnson, Beckett, Hood and Hawkins had played on major hits like "When A Man Loves A Woman" and "Take Time To Know Her" by Percy Sledge, "I'm Your Puppet" by James and Bobby Purify, "I Never Loved A Man (The Way I Love You)" by Aretha Franklin, "Sweet Soul Music" by Arthur Conley and "Slip Away" and "Making Love (At The Dark End Of The Street)" by Clarence Carter. So in terms of session credits, Johnson, Beckett, Hood and Hawkins were highly respected.

But the black and white '3614 Jackson Highway' cover photo buried Cher in a hazy sea of unidentified and mostly unfamiliar faces.

Sonny Bono and Arif Mardin wear t-shirts depicting legendary University of Alabama Crimson Tide coach Paul 'Bear' Bryant walking on water underscored by the slogan "I Believe".

Many musicians were not shown on the '3614 Jackson Highway' album cover or mentioned in the credits. Cher's horn section(s) probably involved Andrew Love, Charles Chalmers or Joe Arnold on tenor sax, Floyd Newman or James Mitchell on baritone sax, Wayne Jackson, Gene 'Bowlegs' Miller or Ben Cauley on trumpet and Joseph DeAngelis or Earl Chapin on French horn. Cher's string section would have been directed by Arif Mardin and probably led by Gene Orloff on viola.

On 6 December 1968, just prior to the founding of Muscle Shoals Sound, Wexler, Dowd, Johnson, Beckett, Hood, and Hawkins worked with guitarist Duane Allman at FAME on Arthur Conley's "Ob-La-Di, Ob-La-Da" session (Masters 15812-15817, Atco single 45-6640, Cash Box review 21 December 1968, 'More Sweet Soul', Atco album SD 33-276, Cash Box review 15 February 1969).

Since Duane Allman played on 'Boz Scaggs' (Atlantic album SD 8239, recorded at Muscle Shoals Sound 5-10 May 1969, Variety review 10 September 1969) and Lulu's 'New Routes' (Atco album SD 33-310, recorded at Muscle Shoals Sound 10 September and 2 October 1969, released 16 January 1970, Billboard review 7 February 1970, #88), one might also suspect Allman contributions on Cher's '3614 Jackson Highway', especially "For What It's Worth", "(Sitting On) The Dock Of The Bay", "Tonight I'll Be Staying Here With You" and "Cry Like A Baby".

While '3614 Jackson Highway' aimed to re-establish Cher as a contemporary recording artist, 'Chastity' sought to elevate her to full-blown motion picture stardom.

New York Times: "The film, which was written and produced by Sonny Bono, stars only Cher, a tall, graceful girl with long black hair and a lovely, impassive oval face. Chastity wears tight brown slacks, a tight mauve jersey top and an air of arrogant indolence as she hitchhikes around the southwest, searching for life's meaning and being generally disagreeable to the unfortunate people who pick her up".

Time: "Cher is on-screen for virtually the whole film and still handles herself with an easy flair. She clearly enjoys playing a side-of-the-mouth, post-teeny-bopper bitch, and even brings off the role's dark comedy".

CUE: "What is Cher without Sonny? The singer, having made her mark as half of the successful team, is now on film as an actress. All of her. The long hair, the intriguing face, the lithe body (exposed). Cher has a marvelous quality that often makes you forget the lines you are hearing. Her manner can be described as a combination of tough, disinterested, unhappy, self-critical and deadpan, offset by sudden jaunty movements of her flexible body. She can be funny and touching in the dry way few actresses can manage".

The only major film directed by Alessio de Paola, 'Chastity' was distributed by American International Pictures, a company known for the sexploitation / biker films 'Dr. Goldfoot And The Girl Bombs', 'Wild Angels', 'Hell's Angels '69', '3 In The Attic' and 'Wild In The Streets'.


'Chastity' opened 24 June 1969. Chicago hosted the Midwest premiere at the McVickers Theatre, Friday, 15 August 1969. Sonny & Cher promoted the event for three days and were presented on the theatre's stage by WCFL dj Jimmy P. Stagg.

For the week ending 13 August 1969, 'Chastity' peaked as Variety's #14 film showing in thirty-one theatres in three cities. For the week ending 20 August 1969 it ranked as the #49 film showing in two theatres in two cities.

The 'Chastity Original Motion Picture Soundtrack' (Atco album SD 33-302, Billboard 4 Star review 26 July 1969) featured only one Cher vocal: "Chastity's Song (Band Of Thieves)": "Hushabye / My lonesome child / Now don't you cry / Mama's gonna bring you somethin' / Gonna get you high / Never you mind how I came here / I just knew someone was lame here / Hushabye / So long I've carried this load / Feel like I've never been born / So long I've traveled this road / Feel like I'm weary I'm worn / What about the Good Times?"

"Chastity's Song", originally titled just "Band Of Thieves", first appeared on composer Elyse J. Weinberg's 'Elyse'(Tetragrammaton album T-117, Cash Box review 17 May 1969). Elyse is not credited in the film.

Denis Pregnolato contributed the only other vocal on the 'Chastity Original Motion Picture Soundtrack': Flowers Love Of A Family / Each one like the one before / The children who clung so near to me / Aren't clingin' any more / And the mourners unwanted and pushed about / For their memories all have died / Water the flowers with the tears they cry / All along the countryside / Karma, be good to us / For we've all been fools before / Some dwell in prosperity / Some dwell in a hole / Some find happiness in a groove / While others stand alone

Side One:
17078 Chastity's Song (Band Of Thieves) 3:06
© 7 April 1969 and 4 June 1969
(Elyse J. Weinberg)
~ ATCO single 45-6684
Billboard and Cash Box reviews 14 June 1969
17079 Chastity Overture (2:40)
17080 Motel I (2:08)
© 30 July 1969 (Sonny Bono) and
23 October 1969 (Jerry Peters and Greg Poree)
17081 Chastity Walk (1:54)
17082 Flowers (Love Of A Family) 2:26
© 30 July 1969 (Sonny Bono)
~ DR 1015 + CDTOP 323
17083 Chastity Love Theme (2:03)
© 30 July 1969 (Sonny Bono)

Side Two:
17084 Chastity Titles (3:44)
17085 Motel II (2:41)
© 30 July 1969 (Sonny Bono) and
23 October 1969 (Jerry Peters and Greg Poree)
17086 Chastity Carrousel (2:35)
17087 Mexico (1:22)
17088 Chastity (Closing Theme) 3:51
~ ATCO album SD-33-302
Recorded Gold Star, Hollywood
Masters assigned 21 May 1969
Released 20 June 1969
Billboard review 26 July 1969
Film © 25 June 1969
Variety film review 25 June 1969
Variety viewed film Hollywood 19 June 1969

Produced by Sonny Bono
Chastity's Song (Band Of Thieves)
Arranged by Greg Poree
All other
Tracks, except Flowers (Love Of A Family),
Arranged by Don Peake

As the 'Chastity' film and Atco products flooded the marketplace, Sonny & Cher premiered a new nightclub act at Windsor, Ontario's Elmwood Casino in June and Las Vegas' Flamingo Hotel in July 1969. Variety: "Sonny is proud of Cher and wants more of her songs heard by a more adult public. The team is out to break the Sonny & Cher kook image without losing the kid followers".

Musical director Greg Poree contributed to the success of Sonny & Cher's new live act. Poree also led the Pop / Soul band Black Magic. Due to Sonny's sponsorship, Black Magic's 'Where Love Is' (Atco album SD 33-305, Masters assigned 22 October 1969, released 16 January 1970) was credited as "A Sonny & Cher Presentation".

Billboard review 28 February 1970: "Here is an unknown group which must be watched because it knows where it's all at. Starting out as songwriters, publishers, arrangers and rhythm section for Sonny & Cher, the group decided to produce an album of its own. The result is funky, exciting and marks the beginning of big things for Black Magic".

Black Magic members Greg and Anita Poree and Jerry Peters composed and arranged for the Friends Of Distinction including "I Really Hope You Do" ('B' side of "Grazing In The Grass", RCA single 74-0107, Cash Box review 15 February 1969) and "Going In Circles" (RCA single 74-0204, Cash Box review 19 July 1969).

Cher performed "The First Time" on CBS-TV's Glen Campbell Goodtime Hour Wednesday, 19 November 1969.

And Cher's fourth single of 1969 was "The First Time" / "You've Made Me So Very Happy" (Atco single 45-6713, masters assigned 11 September 1969, Variety review 19 November 1969). Thanks to Greg Poree's imaginative arrangement, "The First Time" was a crowning achievement, with swelling strings, instrumental flourishes and a powerful opening and closing orchestral theme.

Cher re-recorded "The First Time" on 'Foxy Lady' (Kapp album KRS-5514, released 10 July 1972, Billboard review 22 July 1972, entered Billboard 29 July 1972, #43). The re-done "First Time" also appeared on the 'B' side of Cher's "Don't Hide Your Love" (Kapp single K-2184, entered Billboard's Adult Contemporary chart 16 September 1972, #19). In November 1998, Cher even wrote a book titled 'The First Time' (Simon and Schuster).

From late February through 12 March 1970, Sonny & Cher performed in San Francisco. Cash Box: "It's a long and seldom traveled road that leads from the Whisky A-Go-Go to the very plush Venetian Room of the Fairmont Hotel (and next month, to L.A.'s Westside Room), but the Atco Records duo have made the transition smoothly. Cher's version of 'I Believe', which takes a sudden twist at the end, could make a heavy single".

Sonny & Cher began a two-week stint at the Waldorf Astoria's Empire Room on 1 June 1970. Billboard: "Cher is a persuasive song stylist and Sonny is a superior songwriter and arranger. Musicianship will always be in style and they could still be delivering some hot disk product to their Atco label".

Sonny & Cher's final new release on Atco was the hot Harold Battiste, Jr.-arranged swamp-rocker "Get It Together" (Atco single 45-6758, Masters assigned 20 April 1970, Billboard review 13 June 1970). Greg Poree arranged the soulful 'B' side, "Hold You Tighter", which featured Black Magic's N. d'Oberoff and Annesther on backup vocals.

Written in November 1969, "Hold You Tighter" referred to the expanded Bono family: "It seems kinda funny / That it ain't just you and me / The number was two / And now we've changed into three / We added one more colour / And the colour made us brighter / But to keep our rainbow glowin' / We've gotta be a fighter".

Sonny: "We named her Chastity Sun. Chastity because she was conceived while we shot the like-titled movie; and Sun because she brought light into our lives." Additionally, Chastity was Sonny's name for Cher, Sun (Son) was Cher's name for Sonny and Chastity Sun became the embodiment of CHERSONNY.

Cher's final new release on Atco was the Stan Vincent-produced "Superstar" (Atco single 45-6793, Master assigned between 7 and 16 October 1970, Billboard review 7 November 1970). Known for the Buddah hits, "I'm Gonna Make You Mine" by Lou Christie and "Ooh Child" by the Five Stairsteps, Vincent was recruited by Jerry Greenberg, Atlantic's Head of Pop Promotion. In September 1970 Vincent discussed "Superstar" with Sonny & Cher at the Cave Theatre-Restaurant in Vancouver, British Columbia.

Recorded at Allegro Studios in New York City, "Superstar" featured fiery solos from guitarist Hugh McCracken, drums by Bobby Howe, trumpet by Jimmy Sedler and Bob McCoy, sax by George Young and trombone by Alan Raff and Morty Bullman. The only number cut during the session, "Superstar" appeared on a one-sided white label DJ single, as noted in Variety's review.

After the Carpenters' successful 1971 version, Cher re-claimed "Superstar" on 'Sonny & Cher In Las Vegas, Volume 2' (MCA album 2-8004, released 15 October 1973, Billboard review 27 October 1973, entered Billboard 22 December 1973, #175).

From 20 August-9 September 1970 Sonny & Cher played the Blue Room at New Orleans' Roosevelt Hotel. On Sunday, 25 October 1970, Variety found Sonny & Cher at the Flamingo in Las Vegas: "With all the comparatively new and beautiful tunes in the pair's book, oddly the big one is [Cher's] powerful 'Danny Boy'. Next to this in effectiveness is "Hey Jude", with its orgiastic ending, featuring her deliberately monotonous, mesmerizing riff on the wordless vocal, while Sonny rips up the keyboard and their musical director, Harold Battiste, blows some fine tenor sax".

Sonny & Cher landed on Kapp Records in March 1971. The instantly popular 'Sonny & Cher Comedy Hour' premiered on CBS-TV 1 August 1971. Cher's trademark "Gypsies, Tramps And Thieves" (Kapp single K-2146) was released 17 August 1971 and hit #1 in November.

Accordingly, Atco reissued 1967's 'Best Of Sonny & Cher' (Atco album SD 33-219, Billboard review 20 November 1971, Cash Box review 27 November 1971, #134) and resurrected Cher's '3614 Jackson Highway' cuts "(Just Enough To Keep Me) Hangin' On" / "Lay Baby Lay" (Atco single 45-6868, Billboard review 25 December 1971, Cash Box review 1 January 1972).

The Atco version of "(Just Enough To Keep Me) Hangin' On" re-appeared on the 'B' side of Cher's Phil Spector-produced Nilsson duet "A Love Like Yours (Don't Come Knockin' Every Day)" (Warner-Spector single SPS 0402, Record World review 8 February 1975; UK PSI single 2010 006, New Musical Express and Melody Maker reviews 12 July 1975).

And in yet another '3614 Jackson Highway' shake-up, Cher's "Tonight I'll Be Staying Here With You", "I Walk On Guilded Splinters" and "Do Right Woman, Do Right Man" surfaced on the Sonny & Cher compilation 'The Beat Goes On' (Atco album SD 11000, released mid-November 1975).

Sonny & Cher
The Beat Goes On (39:03)
German Atlantic CD 7567-80801-2
(14 September 1998)
(Straight Reissue of ATCO album SD 11000)
01. The Beat Goes On (Stereo)
02. I Got You Babe (Stereo)
03. What Now My Love (Stereo)
04. Just You (Stereo)
05. Laugh At Me (Stereo Album Version)
06. Baby Don't Go (Off-Kilter Left Channel Fake "Stereo")
07. Little Man (Stereo)
08. Cher:
Tonight I'll Be Staying Here With You (Stereo)
09. Cher: I Walk On Guilded Splinters (Stereo)
10. Sing C'est La Vie (Stereo)
11. It's The Little Things (Stereo)
12. Cher: Do Right Woman, Do Right Man (Stereo)

Billboard review 13 December 1975: "First set in the new Atlantic $4.98 line is a good collection of the biggest hits of this once monstrous duo. With Cher on TV weekly and Sonny still getting much exposure, sales should be helped even more. Best cuts: 'The Beat Goes On', 'I Got You Babe', 'Laugh At You' [sic!], 'Little Man'". Record World 27 December 1975, also failed to notice the unmarked Cher solo cuts.

Cher's Grammy- winning "Believe" became Billboard's #1 single of 1999. But Cher's solo Atco material has never been comprehensively reissued -- until now. Cher has finally come home. Listen to the sounds of southern Soul. With Cher and the Shoals, it's easy to "Believe" a treasure has been re-discovered.


Jackson Highway (Highway 43) was part of the Jackson Military Road that General (later President) Andrew Jackson traveled on the way from Nashville to Mobile, Pensacola and the Battle of New Orleans in 1814.

Cher was not the only artist to taste the fruits of failure in the early days of Muscle Shoals Sound. Others included Arif Mardin ('Glass Onion', Atlantic album SD 8222, released 20 June 1969), Billy Vera and Judy Clay ("Reaching For The Moon", Atlantic single 45-2654, recorded 12 May 1969), Sam & Dave ("Holdin' On", Atlantic single 45-2668, recorded 8 July 1969), Arthur Conley ("Star Review", Atco single 45-6706, recorded 24 July 1969) and the previously mentioned Boz Scaggs.

After glorifying the 3614 Jackson Highway studio at Cher's expense, Atlantic switched horses in mid-stream, increasingly cutting at Atlantic South, Criteria Studios in Miami, beginning in August 1969. Declining to relocate, the Muscle Shoals Rhythm Section, (Johnson, Beckett, Hood, Hawkins and Hinton), still participated in Criteria sessions for Aretha Franklin ('This Girl's In Love With You', Atlantic album SD 8265, recorded 3 October 1969) and Wilson Pickett ('Right On', Atlantic album SD 8250, recorded 19 November 1969).

Muscle Shoals Sound managed to cut Wilson Pickett's "Don't Knock My Love" (Atlantic single 45-2797, recorded 27 January 1971, Cash Box R&B #2) and Sam & Dave's "Don't Pull Your Love" (Atlantic single 45-2839, recorded 18 September 1971, Cash Box R&B #39). Later the studio had a multitude of hits on other labels, especially Stax (the Staple Singers' "Respect Yourself", Billboard #12 and "I'll Take You There", Billboard #1).

In 1978 Muscle Shoals Sound Studio moved to 1000 Alabama Avenue, Sheffield, Alabama and was purchased by Malaco Records in 1985. And somewhere in the 3614 building, Cher still wails "I Walk On Guilded Splinters". "For What It's Worth", indeed.


By 1969, the Sonny & Cher phenomenon had crested. Those married Bonos in their groovy fur vests, Eskimo boots and bell-bottomed chic had gone passe, alas, "the beat goes on" went on without them. 1965's meteoric ride had young American Boomers see Sonny & Cher go from hippie-garbed, 16 Magazine spokespeople for the teenybopper generation to L.A.-based, adult-savvy variety performers forging a new commercial identity. The '70s would embrace and idolize these Bonos anew with yet another in a series of show business comebacks in a long and marvelously convoluted career. In fact Cher, reflecting upon the '98-'99 success of "Believe", was quoted as proclaiming herself "the Lazarus of rock". It is in that indefatigable spirit that this compilation rolls stone from cave door once more to set in place provocative missing pieces of her musical puzzle.

Between 1965 and 1969 the Sonny & Cher coupling had experienced massive success on stage, secured regular spots on network variety programs and sold millions of records the world over. Sonny & Cher, miraculously, at one point in their first incarnation, collectively held five Billboard Top 100 Singles. During the second half of the '60s, Cher maintained her solo career with a series of commercially viable singles and LPs for the Imperial label while making equally-weighted chart hits with her male half for Atco—"The Beat Goes On", "Baby Don't Go" for Reprise and the mainstay and center of their musical universe, "I Got You Babe".

Sonny, preoccupied with sustaining their celebrity status via late 60s cinema efforts like 'Good Times' (1967) and 'Chastity' (1969), lost his Hit Single songwriting footing and Cher was cast into musical limbo, pivoting, to a degree, on her own laurels. She cut five of her Imperial solo LPs and an Imperial greatest hits collection within a 4 year period. The various tracks consisted of an array of musical genres ranging from country rock, folk rock, blues, and show tunes. These LPs carried a slew of classic tracks from "All I Really Want To Do", her first charter, with or without Sonny, to "You Better Sit Down Kids", a 1968 Number 8 Billboard hit about divorce—her last chart success for Imperial. A number of singles followed "You Better Sit Down Kids" with very little success.

The decade barreled on into psychedelia. Carnaby Street fashions gave way to a much more spontaneous Dionysian form of casual hip - with weathered blue jeans, no bras and tank-tops. Hello Grace, Janis and Jim! Although the couple were still publicly visible in the late '60s, their relevance to the times was duly threatened. Their hipness had crumbled into "cute" which, as you can imagine, was an appellation of death for musical artists. Suddenly the Sonny & Cher industry darlings were outside the door of the new rock scene. A Rolling Stone-Drugs, Sex, And Rock 'n' Roll-sensibility establishment fashioned a new order for more contemporary and controversial new artists. But Sonny & Cher were in a musical Antarctica. Bono, ten years older than his wife, was now ensconced in making a security-side beeline into motion pictures. During this period he also concentrated on the recording of his own solo album, the recently Rhino Handmade-resurrected classic, "Inner Views". His multi-tracked direction watered down the attention to Cher the protege.

Cher took to appearing solo in the American Indian Hippie garb evidenced on the '3614 Jackson Highway' cover and on the Tom Jones and Glen Campbell TV shows. The hits dwindled. Cher's last LP for Imperial, 'Backstage', foreshadowed a more adult career. However the waning need for such semi-adult contemporary material found 'Backstage' the lowest charting of Cher's five solo Imperial outings. It was her first solo LP without a solo hit. The Imperial contract ended as Ahmet Ertegun, head of Atlantic/Atco, opened the door to carry Cher on a solo outing. Her soundtrack LP for the film 'Chastity' was released by Atco prior to the release of '3614 Jackson Highway' in 1969. Cher sang only one single for this soundtrack, "Chastity's Song (Band Of Thieves)", and it is historically revealed in both it's mono and stereo formats on this compilation. The stereo version has a marvelous spatial quality that the mono version lacked. Sonny & Cher's duet swan song for the label had been their greatest hits package in 1967, though numerous questionably-relevant singles dribbled out of the team's last days on the label.

Atco seemed to have the idea it was time to take Cher on an independent course that would give her more musical credibility. Sonny must have felt some trepidation as Cher was sent to work with the critically successful likes of Arif Mardin, Jerry Wexler and Tom Dowd, classic producers of the Muscle Shoals sound at Alabama's Muscle Shoals Studios. These producers had already created breakthrough LPs for Aretha Franklin, Dusty Springfield and other industry artists. Cher was given a ticket to join the illustrious few. After years of L.A.-Phil Spector-Sonny Bono style folk-rock arrangements, Cher was placed in a very smooth southern pop blues environment. It must have been somewhat of an adjustment for Cher to settle into this very sophisticated counter groove. The sessions provided Cher with 11 songs that were predominantly covers of the current soul and rock pantheon of the late '60s era. Even at the time of their recording, some of these songs were already dated, making the challenge of bringing some of the pre-stamped tunes to life an even greater task.

The '3614 Jackson Highway' sessions revealed both Cher's innate strength and weaknesses as a vocalist. Cher depended on a selection of contemporary songwriters for success. She took on three Bob Dylan covers from 'Nashville Skyline' with her usual sensitivity for his semi-sung/spoken material. "Tonight I'll Be Staying Here With You" finds Cher in a quiet coasting groove easing her vocals into the open, horn-backed Nashville arrangement. Her cover of "Lay Lady Lay" is laid back, seductive and sincere, while "I Threw It All Away" has an interesting low resonance with characteristic Cher voice-cracking that is only forgivable in the context of a Dylan cover. She carries Dylan with fidelity on '3614 Jackson Highway', if not with any new revelatory position on that material.

Cher's strength is her smooth, distinctively bold, up-front, low-register vocals and her ability to hop musical genres with earthy integrity. The album's weaknesses appear to rise out of the same "jack of all trades" cover treatment exacerbated by the over-recognizable track selection, a selection that takes Cher from The Box Tops' "Cry Like A Baby" to Otis Redding's "(Sittin' On) The Dock Of The Bay" to Aretha Franklin's "Do Right Woman, Do Right Man" and finds Cher without much of a personal statement to make. Ironically, her fresh vocal ease in these new arrangements did not escape the association of the heavy hitters to whom she was ultimately to be compared. Cher's voice was never more at home than with these session players, but her new home is not distinctive enough for her to move in and stay. There are a few notable exceptions to to be found. The song "Save The Children" by session man Eddie Hinton addresses adult themes concerning regret in not keeping commitments in marriage to preserve the family. The song is more tailored to Cher as an interpreter but less impacting than the two other very strong ballads here and is a little corny in comparison.

Ultimately, the country-tinged "Please Don't Tell Me" and "(Just Enough To Keep Me) Hangin' On" are the best work on '3614 Jackson Highway'. Cher breaks the mold - and a few hearts - with these tracks. They are her most revealing vocals and have little, if any, association to other artists. On these obscure and excellent compositions we get a glimpse of Cher the Artist, losing herself in sweet surrender to love lost and disillusionment in love. Cher touches the listener as she envelopes them in her half-spoken/half-sung words of melancholia. The arrangements are poignant and dimensional surrounding Cher's rich tonal inflections. Cher is at her easy best in this loosely-structured country ballad material. She has the opportunity to place her biographical stamp on this material. In retrospect these two cuts are the ones that indicated how '3614 Jackson Highway', under proper guidance, might have had a shot at being Cher's 'Dusty In Memphis'. These country-laden cuts are Cher Magic.

Even with its drawbacks, the '3614 Jackson Highway' set as a whole must have been one that Cher was proud of. Her cover of The Buffalo Springfield's "For What It's Worth" is another venture that is vocally pleasing but hardly earnest enough. She is unable to make one feel the anarchy and turbulence of a Sunset Strip street protest. Still Cher sounds robust and strong of voice, if a trifle removed from the psychological stance of the material. Another cut that is memorable here is "I Walk On Guilded Splinters". This Dr. John cut gets a surprisingly percussive tribal-tough reading by Cher. It is another departure type of song that allowed Cher more freedom and expression as a rock singer. It was one of the better material choices on the album. Her Indian garb on the cover has one musing her dancing tribally as she sings this oddball track.

'3614 Jackson Highway' as a '60s rock standard theme album is still highly listenable and provides major insights into some of Cher's maturing vocal qualities without the noisy Sonny Bono '60s arrangements on her other albums. Cher is almost devoid of the vowel distortions that will earmark her mid and later-era recordings. Here Cher gets as close to understatement as she will for years to come. In fact, Tom Dowd was quoted as being mystified that Cher, as a vocalist, seemed to simply surrender to the music. It was a rather chancy venture to take Cher and have her tackle this classic-rock material and unlikely that, in the prejudiced music industry, she would, as a result, foster new believers and listeners. Cher did not sell many copies of '3614 Jackson Highway' and she did not forge a direct new path for her musical future. This album fostered three neglected singles: "For What It's Worth", Lay Baby Lay", and "Please Don't Tell Me". So, after several Top 40 hits for Imperial, Cher added three Atco misses to her resume.

The front of the '3614 Jackson Highway' album shows Cher flanked by Sonny, who is credited on the sleeve as 'Spiritual Advisor', and the myriad of bohemian musicians that made the album possible. The fold out cover shows a portrait of a headbanded Cher in American Indian drag laying in a grassy field, looking almost makeup free and very earthy and naturally beautiful. She mentions that she sang her heart out and hopes the listener thinks it's groovy. It is pure Cher. She'd probably say the same sort of thing in 2000, perhaps not even updating the word "groovy".

Cher must have wondered what next to do after the lack of interest in her legitimate Muscle Shoals outing during the career impasse which followed the release of '3614 Jackson Highway'. When looking at the material that was delivered to Atco after the '3614 Jackson Highway' sessions, one tries to make sense out of what might have constituted a second Atco album. Immediately on hearing the output that has been unearthed in this project one is left with a notion of a career crisis period in the Superstar's life. A number of the efforts that are here have long been available on collectable - and obscure - uncharting Atco singles. There is a real collectors' find here in the several cuts that appear to have been sitting on a shelf waiting to be found by the flashlights of The Archivists at Rhino Handmade to be heard at all! On the first listen I was rather shocked at the session work on the cuts here. When compared to the early Spector-influenced Sonny & Cher sound these recordings are anything but opulent. They are an exercise in restraint and some experimental accompaniments with Cher's big bold vocals up-front. Incongruent is a word that comes to mind, over and over, when I listen to these late Atco tracks. The lack of unity and direction must have been a reason the reason for their lack of release.

The cover of Carole King's "Yours Until Tomorrow" is close to a commercial sounding record catering to the late-'60s Adult Contemporary market, yet there is a "Blood Sweat And Tears" influence that meets a jangling Sonny Bono production. The effect and balancing of this song is discordant and it is no surprise that Cher saw a lack of movement by the disc jockeys who were presented with it. Cher's vocals get no support in the arrangement. Her voice sounds stressed and incompatible with the noisy instrumentation. Her cover of the Crystal Mansion's "The Thought of Loving You" receives a slightly better treatment and grooves along with more rhythm. However the arrangement is still sparse and confused compared to the arrangements on '3614 Jackson Highway', and ultimately not up to Cher's signature output. "The First Time" is a song Cher does with some of the vocal sensitivity shown on her better cuts on the '3614 Jackson Highway' album. She introduced this single and even performed it on the 1969-70 television series 'The Glen Campbell Good-Time Hour'. The song is a story of a girl's coming-of-age and her doubts in lovemaking's aftermath. It is sort of a late 60's update on "Will You Love Me Tomorrow". Here Sonny is back to writing with some real sensitivity and the lyrics and arrangement are close to the craft of "You Better Sit Down Kids". Cher's vocal is complimented by the time-warp inducing orchestration. However, the track lacks clarity and focus. Cher would cut this song again with Snuff Garrett for the "Foxy Lady" album in 1972.The song and vocals were improved by Mr. Garrett's gorgeous orchestral arrangements and Cher's matured vocal confidence.

Cher's treatment of the song "Easy To Be Hard" from 'Hair' is sensitive and heart-felt, though the uneven laid back instrumental tempo is iconoclastic and, after the first few bars, distracts one from the vocalist. Cher delivered this song in her Monte Carlo concert in the '80s without the distracting percussive noises and superimposed backup vocals. The song tries to decide if it's a jazz moment or a Broadway cover. Cher's cover of the classic "I Believe" is another example of a seemingly unmet expectation. The meandering tempo and percussive interjections set up a playful and odd scenario for this spiritual pop song. The song deteriorates into an ad-lib that borders on soul burlesque and finds Cher barreling along like a loose cannon—so much for the spiritual treatment. The overall effect is kitschy. When she sings about "the man" giving her a baby, one wonders whose concept - or conception - this was. "I Believe" begs comparison to another wayward track from her coming MCA period, the Sonny Bono written and produced "Don't Put It On Me". Both tracks have Cher sounding like she has been set loose in a confused burlesque-rock setting that undermined her abilities and credibility.

"Danny Boy" is more tasteful than the aforementioned two cuts. Cher sang this in her Sonny & Cher Las Vegas nightclub act, and it became one of her favorites. The arrangement here again is uneven and does not compliment the vocal which Cher delivers in her distinctive ballad mode. The version on 'Sonny & Cher Live', a later Kapp album, is more cohesive with the band supporting the overall effect. All in all, it's interesting to hear Cher's studio take on this standard.

"Mama Look Sharp" is a rather obscure and original song. It can be loosely compared to Bobbie Gentry's "Ode to Billie Joe" in its southern story line. Its musical arrangement harkens to a Civil War type of setting—drum rolls in equal marching rhythm with an effective distancing orchestral accompaniment. This song was very odd for the times and finds Cher in an effective storytelling balladeer role. The song has the essence to be a movie soundtrack piece. Cher above all is a good storyteller in song. She sings a poignant paean from a son to a mother who eventually buries him as a casualty of war. This song is one of the most centered of the five previously unreleased songs here. Cher is effective emotionally within the arrangement and with the subject matter. It is one of two original war related songs Cher recorded during the Vietnam era. "Classified 1A", a Bono tune, was written and recorded during this period, but is less of a song than "Mama Look Sharp" musically. She also covers Peter, Paul & Mary's "Cruel War", Dylan's "Masters Of War" and a few others for Imperial.

"It Gets Me Where I Want To Go" is produced rather freely and is sung with ease and hip aplomb. It is a free-wheeling pop rock ballad which is rather catchy but lacks the commercial definition to be a hit. Regardless, the song stands on it's own and is a unified production.

Two versions of "Chastity's Song (Band Of Thieves)" are here. They are the Mono and Stereo versions. "Chastity's Song (Band Of Thieves)" hangs there in the country-pop found in "Mama Look Sharp" and "It Gets Me Where I Want To Go". Its distinctive harmonica riff and guitar solo are backed by tambourine and cascading violin. The song paints an image of a vagabond hitching down the road in search of herself, which is—of course—exactly what Cher portrays in the movie 'Chastity'. The Stereo version is more creative and allows Cher's vocals to wander in and out of the meandering, braided instrumental tracks.

Finally, the last Cher solo cut recorded for Atco, her 1970 version of "Superstar", finds her in good form with a mediocre arrangement that probably handed the hit to Karen Carpenter a short time later. The lack of dimension in the musical background leaves Cher sounding less than distinct. There are moments on this single track that are rather good, but even Cher eclipsed this version herself, with the adult version - "I wanna sleep with you again" - of this song on the Sonny & Cher 'Live In Las Vegas 2' album. The Vegas version got carried away in a good way. This single version didn't go far enough in any personal direction.

It's amazing to be unearthing '3614 Jackson Highway' and all of its subsequent obscure Atco Cher tracks in this new millennium. I, for one, know that all of the loyal and patient fans will be delighted to get these grooves on compact disc, some of which no one was sure even still existed. All in all, it's wonderful to trace these pieces of Cher's musical path with all of the hidden gems and strange obscurities.

Orange Twin CD 001 (39:57)
Released February 2001
Annotation by Harry Young

06. Band Of Thieves
© Peyotyl 7 April and 4 June 1969
Vinyl LP Side 01, Track 01
Moved to Track 06 on CD
01. Last Ditch Protocol
(John Velveteen)
(Elyse Weinberg - Cynthia Friedland)
© Peyotyl 7 April 1969
02. Oh, Deed I Do
(Bert Jansch)
© Southern 26 May 1969
03. Iron Works
(Elyse Weinberg - Morag, pseud. of Maureen Titcomb)
© Peyotyl 26 May 1969
04. Spirit of The Letter
05. Here in My Heart
© Peyotyl 10 March 1969
07. Sweet, Pounding Rhythm
© Peyotyl 7 April 1969
08. Meet Me At The Station
09. Simpleminded Harlequin
10. Painted Raven
© Peyotyl 7 April 1969
11. Mortuary Bound
(Elyse Weinberg - Morag, pseud. of Maureen Titcomb)
© Peyotyl 26 May 1969
12. If Death Don't Overtake Me
© Peyotyl 7 April 1969
13. Houses
© Peyotyl 23 October 1969
~ from the unreleased Tetragrammaton album 'Grease Paint Smile'
14. What You Call It
© Peyotyl 23 October 1969
~ from the unreleased Tetragrammaton album 'Grease Paint Smile'

Cash Box Review
12 April 1969
ELYSE WEINBERG (Tetragrammaton 1521)
Oh, Deed I Do (2:53) (Southern, ASCAP - Jansch)
Intriguing at the first listen and an absolutely hypnotic side once heard again, this introduction to Elyse Weinberg should start things happening to the girl on a powerhouse level. Expect the side to score with FM outlets and spread rapidly through the teen top forty marketplace. Haunting vocal and arrangement. Flip: "Simpleminded Harlequin" (2:22) (Peyotyl, BMI - Weinberg)

Tetragrammaton single 1522
Meet Me At The Station /
If Death Don't Overtake Me

Cash Box Review
17 May 1969
ELYSE - Elyse Weinberg - Tetragrammaton T-117
Elyse Weinberg delivers a selection of rock ditties, many of which have elements of baroque music. ("Meet Me At The Station" uses a harpsichord effectively.) The artist wrote eight of the 12 tunes and co-wrote 3 others. Singing in ringing tones which soar vibrantly through such melodies as "Band Of Thieves," "Deed I Do" (a current noisemaker for the songstress), "Simpleminded Harlequin," and "Mortuary bound," Miss Weinberg could obtain favorable response to this set.

(Band Of Thieves) 3:03
Master 17078 Assigned 21 May 1969 for Atco single 45-6684

Atco Album SD 33-302
Released 20 June 1969
Billboard review 26 July 1969
Assigned Master 28661 1 December 1969

(Band Of Thieves) 3:03
Atco single 45-6684
Billboard Review 14 June 1969
Sensitive treatment of the Elyse Weinberg ballad from the forthcoming film "Chastity" has both play and sales potential.

(Band Of Thieves) 3:03
Atco single 45-6684
Cash Box Review 14 June 1969
Getting funkier than she's sounded in a long time, Cher delivers a powerhouse side that should set her in the programming spotlight with top forty and underground stations (not necessarily in that order). Brutal, forceful blues band backup gives the side dynamite potential. Flip: "I Walk On Guilded Splinters".

Cash Box
10 August 1968B
Tetra Inks Canadian Lark
Hollywood-- Elyse Weinberg, a young Canadian singer, has been signed to Tetragrammaton Records, according to label president, Artie M. Tetragrammaton is currently enjoying its first chart single with Deep Purple's "Hush" and is on the album charts with Murray Roman's "You Can't Beat People Up And Have Them Say I Love You".

Cash Box
26 October 1968
CSC Maps Further Growth Of Set-Up; Tetra Projects $8 Mil. Billing In 69

31 May 1969
Tetra Unaffected by Cosby Split
Roy Silver, President of Campbell-Silver Corporation, Tetragrammaton Records to release 14 LPs on June 1, 1969, including ELYSE. Tetra's publishing division has 400 copyrights and grossed $200,000 in its initial year of operation. The stable includes about 17 exclusive writers, with Tommy Ghent and Miss Weinberg, who has written the title tune in Cher's CHASTITY film, with Cher recording the song as a single on Atco.

Variety Review
14 May 1969
Elyse Weinberg

Billboard Ad
7 June 1969
T-117 Elyse Weinberg - Elyse
Because Cass Elliot called and asked us to listen.

Billboard Ad
14 June 1969
June 10th Begins the 10 Days of Elyse Weinberg

14 July 1969
The Girls - Letting Go
by Hubert Saal
Her fellow Canadian, Elyse Weinberg, a McGill University dropout born and raised in Montreal, could hardly be further away from Joni musically. In her first album, 'Elyse' (on Tetragrammaton Records), she paints a bleak picture of life. Such songs as 'Band Of Thieves' and 'Here In My Heart' suggest that people have lost their way. They are, in 'Simple-Minded Harlequin' or 'Meet Me At The Station,' betrayed or betrayers -- or both. The landscape she sees about her in such songs as 'Iron works' is one of rotten cities and foul countryside. And death in a half a dozen songs seems at least no less fearful and lonely than life. Elyse's songs often recall medieval ballads, but her cracked, mournful delivery is highly influenced by the Bob Dylan of 'John Wesley Harding.' She can be whimsical, even about death, as in 'Mortuary bound,' and in 'Painted Raven,' whose lyrics are: 'Painted Raven on the wing / she don't fly, she don't sing / Painted Raven on the run / Crash into the midnight sun.' Mysteries: She sang protest songs at the beginning. 'I don't think protest songs are where I'm at now,' says 23-year-old Elyse, who lives in Los Angeles and hates it. 'I'm not a very political person. I guess I'm interested in music, my friends and the mysteries of life. I think that all my songs are really one song. Everyone has just one song they sing. And these songs are about people who hold onto everything and anything that's holding them back or getting them down or getting them high -- people who just don't know how to let go.'

30 July 1969
Elyse Weinberg to San Francisco to mix her second Tetragrammaton LP, "Greasepaint Smile"

Billboard Review
23 August 1969
A Double Triumph For Elyse Weinberg

High Fidelity Review
October 1969

'Grease Paint Smile,'
the 2nd, never released, Elyse Weinberg album
would have included:
What You Call It
City Of The Angels
It's Alright To Linger
Collection Bureau Blues
Gospel Ship
My, My, My
Your Place Or Mine
Grease Paint Smile
~ © Peyotyl 23 October 1969

Label Scans Courtesy Steve Espinola

Also by Elyse:
The Woman That You Are
(Elyse Weinberg - Craig Allen)
© Ryerson 24 January 1966
The Bogus Count Of Transylvania
© Peyotyl 10 March 1969
Festival Season
© Peyotyl 10 March 1969
The Food Song
© Peyotyl 10 March 1969
Soul Surviving Lady
© Peyotyl 10 March 1969
The Standard Bishop Rag
(Elyse Weinberg - Maureen Titcomb)
© Peyotyl 10 March 1969

18 September 2015

Elyse Weinberg
Grease Paint Smile
Numero Group
Numerophon 44008

The Archivists Formerly At The Rhino Handmade Institute Of Petromusicology Thank You For Your Curiosity About Their Work.

  An Individually
Limited Edition Of
4,500 (Four Thousand
Five Hundred)

23 Tracks (Including
5 Previously Unreleased)
A Single CD
With A 24-Page Booklet.

Catalogue Number:
RHM2 7733


Tracks 1-11 Recorded at Muscle Shoals Sound Studio, 3614 Jackson Highway, Muscle Shoals, Alabama

All other Tracks Recorded at Gold Star Studios, 6252 Santa Monica Blvd., Hollywood, CA except "Superstar", Recorded at Allegro Studios, New York City

Tracks 1-11 Produced by Jerry Wexler, Tom Dowd and Arif Mardin

All other Tracks Produced by Sonny Bono except "Superstar", Produced, Arranged and Conducted by Stan Vincent

Tracks 1-11 No Arranger Credited

Tracks 12-17 and 20-22 Arranged by Greg Poree

Tracks 18-19 Arranged by Don Peake


'3614 JACKSON HIGHWAY' Atco Stereo Album SD 33-298 (White Label Promo copies in Alernate Stereo and also, CSG Processed Mono versions).

Masters Assigned 6 June 1969
Released 20 June 1969
Entered Billboard 16 August 1969, Peak #160, On Chart 3 Weeks

Variety Review
2 July 1969

Cash Box Review
26 July 1969: Plenty of sales potential in this highly polished set by songstress Cher. Selection of tunes is especially impressive, as included here are Stephen Stills' Buffalo Springfield classic "For What It's Worth", Bob Dylan's current single "Lay Lady Lay", and Otis Redding's great "Dock Of The Bay", in addition to Cher's own latest single, "I Walk On Guilded Splinters". Pay Attention to this one.

Billboard Review
2 August 1969: An impressive collection by this talented stylist. Highlights are her unique interpretations of recent Dylan material: "Lay Baby Lay", "Tonight I'll Be Staying Here With You" and "I Threw It All Away". Her emotional vocal work gives new meaning to these gems. This is Cher's most interesting and therefore her most commercial package in some time.

Record World Review
23 August 1969

Los Angeles Times Review
by Robert Hilburn
31 August 1969

Melody Maker Review
6 September 1969: Songs from Dylan and Steve Stills, superb backings and Cher's voice combine to produce a tremendous album.

New Musical Express Review
13 September 1969: With three Bob Dylan songs, one by Steve Stills and another by Otis Redding and Steve Cropper, Cher has a pretty good mixture - and she makes a fine job of singing them. The opener, Stills' "For What It's Worth", is a mover with a girl chorus and plenty of tambourines. She's in fine voice throughout, switching moods easily, as witness two of Dylan's numbers "Tonight I'll Be Staying Here With You" and "I Threw It All Away" - on the former she takes it easily, on the latter she's morose and wistful. It's interesting to note that Sonny Bono didn't produce this album, but he is credited for "spiritual guidance". "Lay Baby Lay" is an adaptation of the Dylan number that is his new single and it doesn't really seem suited for Cher whereas the Box Tops' "Cry Like A Baby" is right in her groove with a brash beat and, again, the fine four-girl chorus. The closing track, "Save The Children", gives Cher a chance to show how well she can sing on a song that has to be treated very carefully. (UK Atco album 228 026 Mono and Stereo versions)

Disc And Music Echo Review
20 September 1969

Rolling Stone Ad
18 October 1969
Cher In Muscle Shoals

New York Times Review
23 November 1969

Record Mirror Review
14 February 1970


(Stephen Stills)
Words And Music Registered With The Library Of Congress Copyright Office 5 December 1966
Master 17002 Recorded 23 April 1969, Atco CSG processed Mono single 45-6704
Entered Billboard's Bubbling Under The Hot 100, 13 September 1969, #125

Billboard Top 20 Pop Spotlight 16 August 1969: The past hit of the Buffalo Springfield is updated in what will prove to be one of Cher's biggest hits. Penned by Stephen Stills and produced by Jerry Wexler, she's in top vocal form in this infectious entry.

Cash Box review 16 August 1969: First heavy hitting Buffalo Springfield single is returned to the teen scene in a reading that proves it as timely today as it was a few years back. Emphasis is on the lyric in a performance that features some excellent top forty and FM production touches.

New Musical Express review 13 September 1969: Twanging guitars, crashing cymbals and rattling tambourine offset Cher's deep resonant voice as she powers through this bustling rhythmic ballad, with its philosophic lyric. (UK Atco single 226 003 b/w "I Threw It All Away")

Original version titled "For What It's Worth (Stop, Hey What's That Sound)" by the Buffalo Springfield (Atco single 45-6459, Masters 11252 and 11253 assigned 5 December 1966, Billboard review 31 December 1966).

Cash Box
Week ending 17 December 1966
Record Ramblings
The Niagara, which threatens to make this December the wettest in L.A.'s history, dampened the gush of teenage dissenters along the strip last weekend. But another deluge has engulfed the town - a profluence of protest disks involving the Sunset rebellion. First to arrive was "S.O.S." by Terry Randall on Valiant, an unsophisticated blues styled ditty set to a repetitious but nevertheless provocative Morse code cry for deliverance. Sonny Bono's "Sunset Symphony" (which will be released on Atco) is in the form of a documentary backed by the dissonance of stroboscopic sound. And latest release is by the Buffalo Springfield, composed by lead singer Steve Stills, last Wednesday [30 November], waxed at 4:00am on Thursday [1 December] and delivered to local stations on Friday [2 December].

11250 Sunset Symphony 3:18
(The actual occurrence of the demonstration on the Sunset Strip November 1966)
Produced by Sonny Bono & Bill Friedkin
No Publisher(s) Credited
11251 Trippin' 2:55
Produced by Sonny Bono
Arranged by Harold Battiste
Chris - Marc - Cotillion BMI
Masters assigned Thursday, 1 December 1966
Recorded Gold Star, Hollywood
~ Atco single 45-6458
Monarch Pressing
Delta Numbers
64700 / 64700 - X

11252 For What It's Worth
(Stop, Hey What's That Sound) 2:37
Words And Music Registered With The Library Of Congress Copyright Office
5 December 1966
11253 Do I Have To Come Right Out And Say It 3:00
Masters assigned Monday, 5 December 1966
Recorded Columbia Studios, LA
~ Atco single 45-6459
Billboard Review 31 December 1966
Monarch Pressing
Delta Numbers
64813 / 64814

There Goes My Babe
(Neil Young)
Words And Music Registered 13 October 1966
Recorded Gold Star [June 1966]
Buffalo Springfield
Rhino Box Set R2 74324
Released 17 July 2001

2. (Just Enough To Keep Me)
(Buddy Mize - Ira Allen)
Words And Music Registered 10 April 1964
Atlantic Master 17004 Recorded 23 April 1969, Atco Compatible Stereo Generator (CSG) processed Mono single 45-6704 (B), Mono commercial single 45-6868 and Mono one-sided white label DJ single 45-6868

Billboard Review 25 December 1971: Top pop country ballad performance has it to make a heavy chart dent in view of Cher's renewed disk success on Kapp.

Cash Box Review 1 January 1972: Cher recorded an LP for the label two years back and this is one of the tastier cuts. Joe Simon hit should happen again for the gypsy. Flip: no info available.

Original version by Ray Sanders and Irene Bell (Stadium single #?, 1964). Versions by the Gosdin Brothers (Bakersfield International single 1002, entered Billboard's Country chart 7 October 1967, #37), Joe Simon (Sound Stage single SS 2608, entered Billboard's Hot 100 13 April 1968, #25, Billboard Ad 1 June 1968, from 'No Sad Songs', Sound Stage album SS 15004), Vern Gosdin (Elektra single 45353 B, entered Billboard's Country chart 30 October 1976, #16), Lane Brody (Liberty single B-1519, entered Billboard's Country chart 12 May 1984, #59), Linda Thompson ('One Clear Moment' LP, 1985) and Robert Burgeis (aRcd Records).

3. (Sittin' On)
(Otis Redding - Steve Cropper)
Words And Music Registered 22 January 1968
Master 17009 Recorded 24 April 1969

Original version by Otis Redding (Volt single 45-157, entered Billboard 27 January 1968, #1).

(Bob Dylan)
Words And Music Registered 17 March 1969
Master 17006 Recorded 22 April 1969

Original version by Bob Dylan on 'Nashville Skyline' (Columbia album 9825, Cash Box Review 19 April 1969, entered Billboard 3 May 1969, #3) and Columbia single 4-45004, entered Billboard 1 November 1969, #50.

(Bob Dylan)
Words And Music Registered 17 March 1969
Master 17008 Recorded 21 April 1969

Original version by Bob Dylan on 'Nashville Skyline' and Columbia single 4-44826, Cash Box Review 17 May 1969, entered Billboard 17 May 1969, #85.

(LP: Dr. John Creaux) (45: Mac Rebennack)
Words and Music Registered 6 October 1967
Master 17010 Recorded 24 April 1969, Atco CSG processed Mono single 45-6684

Cash Box Ad 14 June 1969: CHER I Walk On Guilded Splinters b/w Chastity's Theme (Band Of Thieves) Atco #6684.

Variety Review 11 June 1969: Cher's "I Walk On Guilded Splinters" is a striking rhythm ballad in a biting arrangement. "Chastity's Song" is another interesting opus.

New Musical Express Review 14 June 1969: An excellent styling, in which the effect is heightened by voodoo-like chanting, crashing cymbals and shrieking brass.

Melody Maker Review 14 June 1969: Cher's version of the Dr. John song is excellent - evil and rocking. The band are funky and the whole production makes it a better bet than Marsha Hunt's version, if the tune is going to take off here at all.

New Musical Express Ad 28 June 1969: Dr. John Smiles, Jerry Wexler Stirs, CHER cooks. This Is the Only Brew: Walk On Gilded Splinters (UK Atlantic single 584 278 b/w "[Just Enough To Keep Me] Hangin' On")

Original version on 'Dr. John, The Night Tripper' (Atco album SD 33-234, Masters 13351 - 13357 assigned 24 October 1967). The 'Night Tripper' album was allegedly conceived during sessions for Sonny's 'Inner Views' (Atco album SD 33-229, Masters 13030 - 13034 assigned 6 September 1967). The single edit of Dr. John's version of "I Walk On Guilded Splinters" (Master 14905, Atco single 45-6607, Billboard Review 31 August 1968) was numerically close to Sonny & Cher's "You Gotta Have A Thing Of Your Own" (Master 14904, assigned 24 July 1968, Atco single 45-6605, Billboard And Cash Box Reviews 17 August 1968).

7. LAY BABY LAY 3:34
(Bob Dylan)
Words And Music Registered 17 March 1969
Master 17000 Recorded 14 May 1969, Atco Mono single 45-6868 (B)

Original version by Bob Dylan on 'Nashville Skyline' and Columbia single 4-44926, Cash Box Review 5 July 1969, entered Billboard 12 July 1969, #7.

(Grady Smith - Carroll W. Quillen)
Words and Music Registered 19 December 1969
Master 16886 Recorded 30 April 1969

(Wallace Pennington - Dewey Oldham)
Words and Music Registered 20 February 1968
Master 16885 Recorded 30 April 1969

Original version by the Box Tops (Mala single 593, entered Billboard 2 March 1968, #2).

(Dan Penn - Chips Moman)
Words And Music Registered 23 March 1967
Master 17001 Recorded 23 April 1969

Original versions by Sandy Posey (Unreleased MGM Master 50223 recorded in Nashville 20 January 1967) and Aretha Franklin (Atlantic single 45-2386 B, recorded at FAME in Muscle Shoals 24 January 1967 with guitarist Jimmy Johnson, drummer Roger Hawkins and producer Tom Dowd).

(Eddie Hinton)
Words And Music Registered 24 April 1969
Master 17003 Recorded 21 April 1969

Session guitarist Edward Craig Hinton (d. 28 July 1995, 51) wrote "Breakfast In Bed" for 'Dusty In Memphis', "Where's Eddie" (Atco single 45-6749 B) and "People In Love" for Lulu's 'New Routes' and "Cover Me", "You're All Around Me" and "It's All Wrong But It's Alright" for Percy Sledge. See 'Cover Me: The Eddie Hinton Songbook'{Ace CDTOP 1535, 26 October 2018} which includes Cher's "Save The Children."


12. EASY TO BE HARD 3:42
(Gerome Ragni - James Rado -
Galt MacDermot)
Words And Music Registered 7 August 1968
Previously Unreleased Master 28655 Recorded 28 November 1969

Original version in the Broadway musical production 'Hair' (opened 29 October 1967 at Joseph Papp's Shakespeare Festival Public Theatre and 29 April 1968 at the Biltmore Theatre).

13. I BELIEVE 3:54
(Ervin Drake - Jimmy Shirl - Al Stillman - Irvin Graham)
Words And Music Registered 8 December 1952 and 6 February 1953
Previously Unreleased Master 28654 Recorded 3 December 1969

Original versions by Frankie Laine (Columbia single 4-39938, entered Billboard 21 February 1953, #2) and the Bachelors (London single 9672, entered Billboard 27 June 1964, #33).

14. DANNY BOY 5:19
(Fred Weatherly)
Words And Adaptation Registered 30 September 1959
Previously unreleased Master 28658 Recorded 3 December 1969

Billboard 12 September 1970, reviewing Sonny & Cher live in New Orleans: Cher's voice is spotlighted with an electrifying "Danny Boy" which is masterfully and simply arranged, staged and sung.

Danny Boy redone on 'Sonny & Cher Live' (Kapp album KS-3654, Billboard Review 18 September 1971).

(Sherman Edwards)
Words And Music Registered 19 December 1968
Previously unreleased Master 28656 Recorded 4 December 1969

Original version in the Broadway musical comedy '1776' (opened at the 46th Street Theatre 16 March 1969, Tony Award for Best Musical, New York Drama Critics' Circle Award).

Soon after the 4 December "Momma, Look Sharp" session, Sonny & Cher returned to the Flamingo in Las Vegas for three weeks.

(Gabriel Lapano - Lance Wakely)
Words And Music Registered 3 February 1970
Previously Unreleased Master 28660 Recorded 1 December 1969

Unreleased version by Sonny & Cher (Master 19384, Recorded 27 May 1970). Composers Gabe Lapano and Lance Wakely were members of the Cascades ('Maybe the Rain Will Fall', Uni LP 73069, 1969).

(Berry Gordy, Jr - Frank Wilson - Brenda Holloway - Patrice Holloway)
Words And Music Registered 15 August 1967
Recorded 25 January 1969
Master 17690 Assigned 11 September 1969 for Atco Mono single 45-6713 (B)
Master 28657 Assigned 25 January 1970

Original versions by Brenda Holloway (Tamla single 54155, entered Billboard 9 September 1967, #39) and Blood, Sweat & Tears (Columbia single 4-44776, Cash Box review 22 February 1969, entered Billboard 1 March 1969, #2).

(Gerry Goffin - Carole King)
Words And Music Registered 28 November 1966
Master 16280 or 16281 Assigned 7 January 1969, Atco Mono single 45-6658

Cash Box 1 February 1969: Atlantic Records has inked Cher. Ahmet Ertegun announced the pact at the company's sales confab. Until now, Cher recorded as a single for Liberty, with Sonny & Cher cutting for Atlantic. New albums by Cher and Sonny & Cher will be released shortly.

Variety Artist - Disk Deals 5 March 1969: Cher, of Sonny & Cher, has pacted long term agreements with Atco as a single with her first release, "Yours Until Tomorrow", a Goffin-King tune.

Billboard Review
8 March 1969: Her move to the Atco label proves a powerful hot chart contender with an updating of the Goffin - King ballad material. Loaded with sales appeal, this should prove a big one.

Cash Box Review
8 March 1969: Featuring a song that had nibbles of success in both pop and blues market versions before, Cher debuts with Atco in a performance that should carry impact with teen and many FM programmers. Side is speeded up a bit and arranged in the Sonny & Cher manner, which puts more drive into the contemporary ballad side.

Billboard and Cash Box Ads
8 March 1969: Atco Records Proudly Presents Cher With Her New Hit Single "Yours Until Tomorrow" Atco #6658 Produced By Sonny Bono

Rolling Stone 19 April 1969:
Atlantic has signed Cher; Sonny to produce.

Original versions by Sandy Posey (Unreleased MGM Master N 50134 recorded 23 August 1966, Nashville), Dee Dee Warwick (Mercury single 72638 B, recorded 21 October 1966, Billboard review 12 November 1966), Engelbert Humperdinck (on 'Release Me', Parrot album PAS 710112, BB rvw 3 June 1967), Paula Wayne (Colgems single 1021, Cash Box review 6 April 1968) and Vivian Reed (Epic single 5-10319, Cash Box review 20 April 1968, entered Cash Box R&B 15 June 1968, #39).

(David White)
Words and Music Registered 5 December 1968
Master 16281 or 16280 Assigned 7 January 1969, Atco Mono single 45-6658 (B)

Original versions by the Crystal Mansion (Capitol single 2275, Billboard review 9 November 1968, #84) and Lou Christie ('I'm Gonna Make You Mine', Buddah album BDS 5052).

(Sonny Bono)
Words And Music Registered 9 October 1969
Master 17689 Assigned 11 September 1969, Atco Mono singles 45-6713 and 45-6793 (B)

Variety Review
19 November 1969: Cher's "The First Time" is an arresting contemporary ballad handled in sensitive style by this songstress. "You've Made Me So Very Happy" is a nifty straightforward rhythm ballad.

Billboard Review
29 November 1969: Strong, commercial ballad and one of Cher's top vocal workouts to date. Could easily prove a left field smash.

(Band Of Thieves)
3:03 Mono
(Elyse J. Weinberg)
Words And Music Registered 7 April and 4 June 1969
Master 17078 Assigned 21 May 1969 for Atco Mono single 45-6684
Master 28661 Assigned 1 December 1969

Billboard Review
14 June 1969: Sensitive treatment of the Elyse Weinberg ballad from the forthcoming film "Chastity" has both play and sales potential.

Cash Box Review
14 June 1969: Getting funkier than she's sounded in a long time, Cher delivers a powerhouse side that should set her in the programming spotlight with top forty and underground stations (not necessarily in that order). Brutal, forceful blues band backup gives the side dynamite potential. Flip: "I Walk On Guilded Splinters".

(Band Of Thieves) 3:03
First - Time Stereo
(Elyse J. Weinberg)
Words And Music Registered 7 April and 4 June 1969
Master 17078 Assigned 21 May 1969
Atco Album SD 33-302 Released 20 June 1969,
Billboard Review 26 July 1969

23. SUPERSTAR 3:07
First - Time Stereo
(Bonnie Bramlett - Leon Russell)
Words And Music Registered 3 March 1970
Master 20363 Assigned between 7 and 16 October 1970
Atco Mono single 45-6793

Billboard Review
7 November 1970: Penned by Bonnie Bramlett and Leon Russell (not to be confused with the Rock Opera), this super, driving ballad serves as powerful material for Cher. Will bring her back to the Hot 100 with sales impact. Her first solo release for the year gets a heavy producing job by Stan Vincent.

Variety Review
11 November 1970: Cher's "Superstar" is a strong reading of Bonnie Bramlett and Leon Russell's rock ballad that should return this singer to the charts. Flip side was blank.

The one-sided white label DJ single format was not particular to Cher's "Superstar"; similar promo singles had been issued occasionally at least since Wilson Pickett's "Cole, Cooke & Redding" (Atlantic 45-2722, Variety review 11 March 1970, ironically a two-sided hit). The blank 'B' side had the wax inscription: BACK PLATE MFG. BY SPECIALTY RECORDS. See also the Mono one-sided white label DJ single 45-6868 Cher's "(Just Enough To Keep Me) Hangin' On".

Original version titled "Groupie (Superstar)" by Delaney and Bonnie And Friends Featuring Eric Clapton (Atco single 45-6725 B, Variety Review 21 January 1970, Atlantic Master 18058 assigned 10 November 1969, from Elektra). Titled "Superstar" on Joe Cocker's 'Mad Dogs And Englishmen' (A&M album SP 6002, entered Billboard 5 September 1970, #2). "Superstar" was a later a hit for the Carpenters (A&M single 1289, entered Billboard 4 September 1971, #2).