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"Don't Let Me Be Misunderstood" has been covered by many artists. Two of the covers were transatlantic hits, the first in 1965 by the Animals on their album Animal Tracks, which was a blues rock version; and in 1977 by the disco group Santa Esmeralda on their album Don't Let Me Be Misunderstood, which was a four-on-the-floor rearrangement.
Claude August "Bennie" Benjamin (November 4, 1907 – May 2, 1989) was a Virgin Islands-born American songwriter.He had particularly successful songwriting partnerships with Sol Marcus, with whom he wrote "I Don't Want To Set The World On Fire", "When the Lights Go On Again (All Over the World)", and "Don't Let Me Be Misunderstood"; and with George David Weiss, with whom he wrote "Oh!
The group had hits with its remakes of the 1960s hits "Don't Let Me Be Misunderstood" and "House of the Rising Sun". [1] Santa Esmeralda featured original lead singer Leroy Gómez in 1977-1978 and singer Jimmy Goings from late 1978 until 1983. Gómez rejoined the group in the 1990s.
Later, she tries to socialize with her younger brother. She meets with her friend Yuu-chan, a middle school friend who has since become very attractive. While her classmates go for karaoke, Tomoko visits a bookstore instead, but encounters the classmates at a fast food place afterwards. While it rains, she gets stuck at a rest stop with some boys.
Three of the tracks ("Nuclear Attack", "Don't Let Me Be Misunderstood" and "Run to Your Mama") were later released as an EP in 1981. The album was eventually released in Japan in 1983 by Jet Records , before an international release the following year. [ 3 ]
In 2002, a single, "Don't Let Me Be Misunderstood" featuring guitarist Al Di Meola, was released to gauge support for No Mercy's third album. The record producer decided instead to rework the songs for solo artist Daniel Lopes' debut album, Shine On, in 2003. The band would guest feature in that album, on the track "Summer Angel".
At face value, Ryan Borgwardt, Hannah Kobayashi and Luigi Mangione lead distinct lives and come from disparate backgrounds. Yet, they all made the same unexpected decision: disappear from their ...
Tracks like "Just Like a Woman," with its soaring gospel organ above a lean textured acoustic and light electric accompaniment, and the guitar-dominated rendition of "Don't Let Me Be Misunderstood" [...] all help make this an exceptional listening experience." [2]