Though the band has achieved only cult success over the years, they have a loyal fan base and also a following among professional musicians such as Jack Bruce, Ringo Starr, Bruce Springsteen, and others. The group's "classic" lineup consisted of Eric Carmen (vocalist/guitarist/bassist), Wally Bryson (guitarist), Jim Bonfanti (drummer), and Dave Smalley (guitarist/bassist). Their best known songs include the aforementioned "Go All the Way" as well as "Let's Pretend", "I Wanna Be with You", "Tonight", and "Overnight Sensation (Hit Record)". Seminal producer Jimmy Ienner was responsible for all four of the Raspberries' albums in the 70s.
The group broke up in 1975 after a five-year run, and Eric Carmen proceeded to a successful career as a solo artist. Bryson and Smalley resurrected the group's name in 1999 for another album, which featured indie rock artist Scott McCarl as the vocalist. In 2004, the original four-man lineup reunited and soon undertook a well-received reunion tour. Their music additionally experienced a resurgence of interest after its inclusion in the popular 2014 film 'Guardians of the Galaxy' and its related soundtrack.
The group's history begins in early 1970 as a partnership between singer-songwriter Eric Carmen and drummer Jim Bonfanti, local pop/rock heroes thanks to the respective tenures in the hugely popular bands Cyrus Erie and The Choir. Guitarist Wally Bryson and bassist John Aleksic (both Choir veterans as well) completed the original lineup, which made its live debut in mid-October of that year. With their short hair, matching suits, and Beatlesque sound, the Raspberries ran in direct opposition to the prevailing hard rock mentality of the Cleveland scene. Yet, after just a handful of gigs, the band was among the city's most popular live acts. However, after cutting their first demo session, Aleksic left the lineup in March of 1971. With the addition of rhythm guitarist Dave Smalley, Carmen assumed bass duties.
The Raspberries' demo tape ultimately found its way to producer Jimmy Ienner, a figure interested in a 'wall of sound' approach akin to Phil Spector, and, in the wake of a major-label bidding war, the band signed to Capitol. The group released their their self-titled debut LP (complete with a raspberry-scented scratch-and-sniff cover sticker) in the spring of 1972. Their debut single, called "Don't Want to Say Goodbye", stalled, but the follow-up, called "Go All the Way", a well-received fusion of a The Who-inspired guitar snarl and The Beach Boys-styled vocal harmonies, went on to sell over a million copies on its way to cracking the Top Five. Although some censors felt horrified due to the tune's sexual content, leading to an ban by the BBC, the group preformed the song live on several programs. Carmen and Smalley swapped guitar and bass chores prior to recording the Raspberries' sophomore effort, 1972's 'Fresh'.
That album brought the group additional critical acclaim and praise from their fellow musicians. The record generated two more hits, rocker "I Wanna Be with You" and the smooth ballad "Let's Pretend", solidified the band's stature as local rock heroes. Nevertheless, tension within the ranks— sparked largely by Carmen's creative primacy and the shadow it cast over the songwriting contributions of Bryson and Smalley, both genuinely talented as well— were beginning to boil over. Thus, 1973's 'Side 3' boasted a more raw, aggressive sound than its predecessors, typified by the visceral crunch of the opening "Tonight", and showed a group in flux.
'Side 3' failed even to crack the Top 100, however, and appeared rather out of place compared to the squeaky-clean, laid-back commercial music of the time. Following a triumphant Carnegie Hall date, both Smalley and Bonfanti exited the Raspberries to form their own band, which they soon titled "Dynamite". They were replaced by bassist Scott McCarl and ex-Cyrus Erie drummer Michael McBride. Still determined, 1974's acclaimed 'Starting Over' continued the harder-edged approach of 'Side 3', yielding the band's final chart smash, the much praised "Overnight Sensation (Hit Record)". A nasty post-gig confrontation between Carmen and Bryson soon resulted in the latter's departure from the group. After playing a handful of shows as a three-piece, the Raspberries disbanded in 1975.
Carmen then mounted a solo career; tapping McBride to play drums on his self-titled debut LP, which launched the number two blockbuster "All by Myself". He did not return to the upper rungs of the charts for over a decade, however, before scoring a major hit in 1987 with his 'Dirty Dancing' soundtrack contribution. The tune, called "Hungry Eyes", has remained popular for years since then. Re-inspired musically, Carmen's "Make Me Lose Control" additionally reached the number three spot a year later. Bryson, meanwhile, resurfaced in a short-lived band— named Tattoo— before joining the power pop group Fotomaker for three albums during the late 70s. Despite their skill and bursts of critical praise, the other ex-Raspberries besides Carmen found mainstream success elusive.
In March of 1999, all four original members (Smalley, Carmen, Bryson, and Bonfanti) met up for the first time in years, sparking rumors of an impending reunion. A few months later (after three of the four members played together onstage in Cleveland to celebrate the 80th birthday of rock journalist Jane Scott), a Raspberries reunion tour was confirmed as fact by 'Billboard Magazine'. Unfortunately for fans, the reunion failed to materialize. Carmen continued to write and record as a solo artist, while Bryson, Smalley, and latter-day member Scott McCarl opted to resurrect the Raspberries' name as a trio— issuing the album 'Refreshed' in 2000. That release picked up some praise from music journalists but went nowhere commercially.
As stacks of the popular book 'Eric Carmen: Marathon Man' was rolling off the presses, the dream that Eric Carmen, Wally Bryson, Dave Smalley and Jim Bonfanti would ever find themselves in a room together again, let alone reunite to perform, was labeled by many fans as likely as the Titanic rising from its ocean depths. Nonetheless, the band made an announcement in the mid-2000s along the lines of: "Ladies and gentlemen, I present for you the Titanic arisen." Raspberries guitarist Wally Bryson was overheard quipping, "If not now, then when?" (said via phone with Raspberries lead singer Eric Carmen on an evening in July 2004).
Drummer Jim Bonfanti was already on board, and bassist Dave Smalley joined onto the project shortly thereafter. The rest, as they say, is history. The original band members rehearsed in a rented space just outside of Cleveland, Ohio. They quickly re-learned all of their biggest hits and reacquainted themselves with their chops. For all four musicians, it was like time had stood still. They were back together again— for real this time— and had plenty of fans interested in future touring.
Raspberries first considered a reunion four years before then, but Carmen has remarked that the offer from promoters would not have allowed the band to put on a show with the production values it felt its fans deserved. "My caveat has always been that there's a mythology about the band, and I don't want to burst that bubble. If we couldn't put on a good concert, I didn't want to do it," he stated. After playing House of Blues clubs with Ringo Starr in 2001, Carmen loved the venues' vibe had had some inspiration. So, the House of Blues in Cleveland appeared to be the ideal place to play at.
"It's kind of fun to look around after all these years and see these people, who were my fellow musicians and my friends, working together again. And it sounds like us," Smalley stated. "Our fans have just not given up," Wally commented, "I've said it wouldn't happen, but they've been so persistent and loyal. I think we all kind of got the same feeling: 'Let's go and do this before we're freaking 95.'"
"The intention initially was just to play one show," Eric remarked. However, "[a]s we started rehearsing, a number of very interesting things happened— not the least of which was, we sold this first show out in four minutes. It totally knocked the House of Blues for a loop." The band's long-awaited live reunion, bringing them across the nation, ended up being featured in a 2007 album titled 'Live On Sunset Strip' (also known as 'The Raspberries: Live on Sunset Strip'). The release earned praise from critics such as Allmusic's Bruce Eder, who stated that "these guys can still sing their hearts out and play their asses off ".
Website: http://www.raspberriesonline.com/main.shtml
Tonight
The Raspberries Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
When you smiled at me
And I saw your eyes
All I ever wanted to be
Was in your arms tonight
You looked too young to know about romance
Oh, yes you did
But when you smiled, I had to take a chance
Tonight
I'll be with you tonight
Tonight
You'll love me too tonight
Whoa baby, tonight
I'm making love to you
Whoa, tonight
Bop-om-doo-doh-woh-mop-shoo
Whoa, tonight
You're gonna love me too
tonight
Woh, tonight
I don't know myself
If it's wrong or right
All I know is what I can feel
So be my love tonight
You looked too young to know about romance
Oh, you know what I mean
But when you smiled, I had to take a chance
I had to take a chance and be with you
Whoa, tonight
Won't you let me sleep with you, baby
Whoa, tonight
I just wanna make you feel good inside, baby
Whoa, tonight
Let me feel the love that's in you
Whoa, tonight
Come on, come on, come on, come on
and let me
Come on, baby
Whoa, tonight
The Raspberries' song "Tonight" is a classic rock song that speaks to the universal desire for love and the urge to take risks in the pursuit of romance. The opening lines set the tone, describing the main character's attraction to someone they see in the crowd. The lyrics describe how the singer has been waiting for the chance to be with their love interest and is now eager to take the risk and express their true feelings. The song acknowledges that the singer is unsure whether this connection is right or wrong, but the powerful feelings they have are undeniable.
One interesting interpretation of the song's lyrics is that it could be about a forbidden romance. The reference to the love interest looking "too young" to know about romance suggests that the singer may be involved in a relationship with an age gap, which could raise eyebrows or be frowned upon by society. Additionally, the line "I don't know myself / If it's wrong or right" echoes the uncertainty and moral ambiguity of a situation where society may not approve of the relationship.
Despite the ambiguity of the song's lyrics, it is an undeniable classic of 70s rock. The upbeat tempo and catchy refrain make it an instantly recognizable tune that continues to be enjoyed by fans of rock music to this day.
Line by Line Meaning
One, two, three, four
The song begins with a rhythmic count-in before delving into the singer's desire for love and affection.
When you smiled at me
The singer recalls a moment when someone caught his eye and offered a smile, sparking a connection between them.
And I saw your eyes
The singer is drawn to the other person's eyes, which convey a sense of depth and emotion that he finds compelling.
All I ever wanted to be
The singer reveals that his deepest desire is to be close to this person and to experience the intimacy and connection that comes with romantic love.
Was in your arms tonight
The singer longs to hold the other person close and to feel their body pressed against his own, sharing a moment of physical and emotional closeness.
You looked too young to know about romance
The singer is struck by the fact that the other person appears inexperienced in matters of the heart, perhaps adding to his desire to guide and protect them.
Oh, yes you did
This line repeats the previous one for emphasis, underscoring the singer's surprise at encountering someone who seems innocent and pure in matters of love.
But when you smiled, I had to take a chance
Despite his reservations, the singer cannot resist the pull of attraction that he feels towards the other person, and decides to pursue a romantic relationship with them.
I had to take a chance and be with you
The singer acknowledges that he is taking a risk in pursuing this relationship, but feels compelled to do so because of the intensity of his feelings.
Tonight
The chorus of the song emphasizes the urgency and immediacy of the singer's desire to be with the other person, highlighting the importance of the present moment.
I'll be with you tonight
The singer reiterates his intention to spend the night with the other person, emphasizing the closeness and connection that he seeks with them.
You'll love me too tonight
The singer expresses his hope that the other person will reciprocate his feelings of romantic love and desire, cementing their connection.
Whoa baby, tonight
This line reinforces the sense of excitement and anticipation that the singer feels about spending the evening with the other person, heightening the emotional stakes of the song.
I'm making love to you
The singer imagines himself in an intimate and romantic encounter with the other person, describing his passionate devotion to them.
Whoa, tonight
This line repeats the earlier refrain, emphasizing the sense of immediacy and desire that the singer feels towards the other person.
Bop-om-doo-doh-woh-mop-shoo
This nonsensical vocalization is likely intended to add a playful and fun element to the song, evoking a sense of youthful enthusiasm and exuberance.
You're gonna love me too tonight
The singer expresses his confidence that the other person will share his feelings of romantic love and desire, further cementing their connection.
Woh, tonight
This line repeats the earlier refrain once again, emphasizing the emotional intensity of the singer's desire and longing for the other person.
I don't know myself
The singer acknowledges that he is uncertain about the true nature of his feelings, suggesting that his sense of desire may be clouding his judgment or perception.
If it's wrong or right
The singer expresses his ambivalence about the morality or ethics of pursuing a romantic relationship with the other person, suggesting that he is grappling with a sense of internal conflict or doubt.
All I know is what I can feel
Despite his uncertainty, the singer emphasizes the importance of emotional experience and connection, suggesting that his feelings of love and desire are more important than abstract concepts like right and wrong.
So be my love tonight
The singer reiterates his desire to connect with the other person, emphasizing the depth and intensity of his emotions.
Oh, you know what I mean
This line suggests that the other person is aware of the singer's feelings and intentions, creating a sense of shared intimacy and vulnerability between them.
Whoa, tonight
This line once again emphasizes the sense of urgency and emotional intensity that the singer feels towards the other person, highlighting the importance of the present moment.
Won't you let me sleep with you, baby
The singer boldly asks the other person for permission to spend the night with them and engage in physical intimacy, underscoring the sense of vulnerability and openness that he feels with them.
I just wanna make you feel good inside, baby
The singer emphasizes his desire to bring pleasure and satisfaction to the other person, suggesting that his feelings of romantic love are accompanied by a genuine desire to care for and nurture his partner.
Let me feel the love that's in you
The singer expresses his desire to connect with the other person on a deep and emotional level, emphasizing the importance of shared intimacy and vulnerability.
Come on, come on, come on, come on
This line is a playful and encouraging entreaty, underscoring the sense of excitement and anticipation that the singer feels towards the other person.
and let me
This brief phrase underscores the sense of vulnerability and desire that the singer feels towards the other person, emphasizing the importance of mutual trust and openness in a romantic relationship.
Come on, baby
These words function as an expression of affection and encouragement, emphasizing the singer's sense of emotional attachment and devotion to the other person.
Whoa, tonight
The song ends with a final reiteration of the earlier refrain, emphasizing the importance of the present moment and the sense of emotional urgency and desire that the singer feels towards the other person.
Lyrics © BMG Rights Management, Universal Music Publishing Group, Capitol CMG Publishing, Spirit Music Group, Warner Chappell Music, Inc.
Written by: FIONA SHEREE KERNAGHAN
Lyrics Licensed & Provided by LyricFind