By New Times
By Derek Askey
By Mark Deming
By Serene Dominic
By Jason Keil
By Robrt L. Pela and Amy Silverman
By Jeff Moses
By Serene Dominic
I never thought I'd cut a record by myself. But I've got something to say, I wanna say it for Cher and I hope I say it for a lot of you.
--"Laugh at Me" by Sonny Bono, 1965
Because Sonny Bono played such a convincing stooge, folks always credit his onetime partner Cher with possessing all the talent. Sadly, it's a common assessment that only Bono's George of the Jungle-ish death at the trunk of a misplaced tree seems to have shattered.
By now, even Newt Gingrich knows Bono was an underrated songwriter, penning great tunes like "Needles and Pins" (recorded by the Searchers, Jackie DeShannon, and the Ramones), "She Said Yeah" (recorded by the Rolling Stones, and Larry Williams) and "Ko Ko Joe" (recorded by the Righteous Brothers). Plus he was an underrated producer/arranger who apprenticed as Phil Spector's flunky until he fashioned his own European version of "the Wall of Sound," a kinda Leaning Tower of Pisa of Sound, if you will. There are enough accordions, oboes, zithers, clarinets and balalaikas on hits like "I Got You Babe," "Bang Bang" (a solo hit for Cher) and "Little Man" to make you think the records could've been issued in a checkered tablecloth with a Menu Touristica slipped inside.
But rather than give Bono his rightful due as the team's Desi Arnaz, he was ridiculed as the team's Andrew Ridgeley, just some schlub along for the ride. Bah! And Cher's ingratitude toward Sonny's Svengali work didn't help any. In those lean years following the couple's acrimonious split, Cher never missed an opportunity to disparage Bono in interviews. How ironic that she could still make headlines dating big rock stars like Gene Simmons while Sonny was reduced to merely playing rock stars on Fantasy Island and The Love Boat. So let her shed her crocodile tears in The Globe now, "Shattered star weeps for Sonny"--ha! In the divorce papers, she charged her former babe with "involuntary servitude." In short, slavery! Well, I don't know if all that's true, but at least Sonny never forced her to appear on records as bad as her album with Gregg Allman, Two the Hard Way. Or, for that matter, her entire '80s and '90s output!
As the teenyboppers' newborn king and queen, Sonny and Cher were red-hot in 1965. So hot that the pair's success even afforded Sonny, who had a voice like the horn on a Hyundai, the chance to bleat on a solo hit of his own--the lovable "why pick on li'l ol' longhaired me" anthem "Laugh at Me." When an insecure and equally unsure-voiced Ian Hunter auditioned for Mott the Hoople, he sang both "Like a Rolling Stone" and "Laugh at Me"--high praise indeed!
For some unexplained reason, Sonny cut an entire album by himself in 1967, two years after "Laugh at Me" hit and its follow-up "The Revolution Kind" flopped. If I hadn't seen it on the dust sleeve of an old Cream album, I never would have known Inner Views even existed. Its cover is a hideous etching of Sonny sitting peacefully, with a smoky genie of Cher billowing next to him, touching her heart and his to assure the remaining fans this is no declaration of independence. The back is even scarier--it prints the lyrics! This supports the notion that at the time of issue, Inner Views was every bit the important statement to Bono that "Laugh at Me" had been earlier.
In Bono's 1991 autobiography, And the Beat Goes On, he admits, "I tried chasing the newer sound for a while but could never get a handle on it. The LP Inner Views was my attempt at psychedelic music. Occasionally, I'll hear some radio station playing 'Pammie's on a Bummer,' a moody, contrived song, and I'll ask, 'God, is that really me?'"
Pammie may have been on a bummer, but she's a canister of Silly String compared to somber Sonny in this set. Since Bono was an outspoken opponent of drugs at this time, one can only assume he's on a natural low. Without a musical role model since Phil Spector stopped making records the previous year, Sonny was left scratching his head wondering where all these sitars and tambouras were gonna fit into his Leaning Tower of Pisa of Sound. The answer: nowhere, but it wasn't for lack of trying. There aren't two grooves pressed together on the whole first side that escape contamination from squiggly sitar runs. Like the dull, droning buzz of a dying bee or the hum of a faulty air conditioner, it runs constant through side one's two songs. Yes, you read right. Two songs! Because Sonny understands the requirements of this new music (to take drugs and do everything to excess) but stubbornly refuses to follow through with those requirements (by doing everything to excess stone cold sober), Inner Views is a most fascinating psychedelic skeleton in the closet.
Inner Views' opener is a studio jam titled "I Just Sit There," which does just that, for 12 interminable minutes. Try imagining a sitar-riddled rewrite of "The Beat Goes On," then imagine Sonny and the band tackling it alone while Cher goes to the grocery stores and supermarts, uh-huh! Bono starts out mumbling, rightfully pissed that the beat is going on without him, everyone is getting stoned and not buying Sonny and Cher records anymore. "Smell the air, it's real uptight," he warns. About six minutes into this ditty, after Sonny's quoted "Ring Around the Rosey" and rhymed "sturgeon" with "virgin," he favors us with a snatch of "The Battle Hymn of the Republic" and leaves us with this elevated observation: "I wonder why we want to fly/The closer we get to the sky/The less we see with the naked eye/The world looks like a little ball/And people don't exist at all/Oh wow!"