Bonnie’s Top 10 Shortest Songs
Following last year’s blog post, here’s a list of Bonnie’s ten most short n’ sweet studio tracks.
You Are So Beautiful
2:21 / 1993 / Silhouette in Red
Made famous by Joe Cocker, “You Are So Beautiful” provides a moment of quiet amidst the lavish production of Bonnie’s Silhouette in Red album. Bonnie had always been a big fan of Joe Cocker, often citing his version of “With a Little Help from My Friends” as one of her all-time favourite songs. They met in the early ’90s after a concert in Germany and spent the evening chatting at a hotel bar. They hit it off so well that they both had to be carried back to their rooms! (“Separately, I might add!“)
Silent Night
2:28 / 1998 / All in One Voice
Bonnie Tyler performed “Silent Night” at the José Carreras Gala on ZDF in December 1997, a charity event dedicated to raising funds for leukemia research. The performance featured a live children’s choir, adding an angelic touch to Bonnie’s soft and emotional delivery. This intimate rendition was a departure from her usual rock epics, highlighting Bonnie’s more tender side. The audio track was preserved and added as the final piece on her 1998 album All in One Voice, leaving listeners with a sense of peace and quiet reflection. With themes of nature and winter woven throughout the album, it’s fitting that it concludes with this gentle Christmas carol.
You Won’t See Me Cry
2:47 / 1993 / Silhouette in Red
Bonnie has always loved this upbeat rock track. She recorded it in Wales with some of her old bandmates from the ’70s, and it was co-written by her brother, Paul Hopkins. While most of the Silhouette in Red album was recorded in Germany, “You Won’t See Me Cry” was cut at a studio in London with some of her longtime collaborators, including Paul and his friend Lee Morris on backing vocals, her bassist Ed Poole, and former Imagination guitarist Taff Williams. Bonnie added it to her 2007 compilation From the Heart: Greatest Hits.
Sunshine
2:53 / 2013 / Rocks and Honey
“This isn’t the kind of song Bonnie Tyler would normally record,” Bonnie told Graham Norton on his BBC radio show in 2013. Many fans had requested it as a summer single when Rocks and Honey was released in early 2013. The track features Jodi Marr on backing vocals—she also appeared on Bonnie’s Eurovision song “Believe in Me”. Jodi later found success co-writing hit songs with pop star MIKA.
Merry Christmas
2:56 / 1989 / 3615 Code Père Noël
Bonnie’s second and only other Christmas track features on the soundtrack of the French thriller 3615 Code Père Noël (known in English-speaking territories as Game Over). Directed by René Manzor, the film’s music was composed by Jean-Félix Lallane. The plot centers on Thomas de Frémont (played by Alain Lalanne), a child prodigy whose fascination with technology accidentally attracts a murderous lunatic dressed as Santa Claus to his home. The film’s director, Manzor, subtitled the song “To Become a Man”, a refrain that recurs throughout the track. The lyrics reflect Thomas’s forced coming-of-age as he must defend himself from the evil intruder, marking a loss of innocence.
Celebrate
2:56 / 2005 / Wings
This upbeat party track was recorded for Bonnie’s 2005 album Wings. Bonnie co-wrote the song with Karen Drotar, who was a key part of the songwriting team for the album. Released as a promo single, the track also became the title of the UK edition of the album. It features the Normandy Highland Pipe Band, who later appeared as special guests at Bonnie’s birthday concert at La Cigale in Paris, an event that was subsequently featured on her live DVD Bonnie on Tour (2006).
Bad for Loving You
2:57 / 2019 / Between the Earth and the Stars
One of three tracks written for Between the Earth and the Stars by fellow Welsh artist Amy Wadge, this song was co-written with Martie Maguire of The Chicks. It features Richard Cottle on the clavinova and was specially requested by Bonnie after Amy sent her “To the Moon and Back”. Bonnie sought more upbeat songs to balance the many ballads and quieter love songs on the album. The lyrics describe a woman who tempts a married man away from his wife; despite knowing she shouldn’t, she can’t resist and relishes the forbidden nature of the situation.
A Rockin’ Good Way (To Mess Around and Fall in Love)
2:58 / 1983 / The Bop Won’t Stop
Noted for its departure from Bonnie’s usual rock sound, this collaboration with Shakin’ Stevens became a major hit just over 40 years ago. Originally released in the ’60s, Bonnie and Shaky’s version reached No. 5 in the UK and became a Top 10 hit across Europe. Despite its enduring popularity, it’s not one of Bonnie’s favorites. In her new book, Straight from the Heart, she describes some tension during the song’s recording. “Shaky wanted to record the song over and over again,” she wrote. “He insisted we carry on, and in the end, I said to him, ‘I’ve done my bit, I’m off.'” Bonnie clarified that there were no hard feelings, and the two later embarked on a promotional campaign for the track.
In My Life
2:58 / 2002 / Heart & Soul: 13 Rock Classics
Bonnie has always been a huge fan of the Beatles, especially their seminal album A Hard Day’s Night. Although the song had been covered by countless artists, Bonnie was eager to put her own spin on it when the opportunity arose during the sessions for her covers album, Heart Strings. To this day, it remains one of the most-streamed tracks from the album. It’s another track that Bonnie selected for her 2007 compilation From the Heart: Greatest Hits.
I’ve Got So Used to Loving You, Baby
2:59 / 1976 / My! My! Honeycomb [single]
As the B-side to her debut single, “My! My! Honeycomb”, this early version of the opening track from The World Starts Tonight is one of Bonnie’s first studio recordings. The production is lighter than the re-recorded album version, and her vocals are softer. In this version, the bass line is shared by the keyboards and bass guitar, while the piano chords were later replaced by guitar licks on the album track. Additionally, watch for the lyric changes: “I’ve got so used to loving you, baby, and loving you’s all I know” was later revised to “And, baby, I can’t let go”.