The deep voice that begins Warner Brothers single #5643, Petula Clark's third U.S. hit "You'd Better Come Home" in the summer of 1965, was a bit of the style that she was successful with in Europe prior to her "overnight success" in the Americas. This two minute and fifty-six second Tony Hatch composition owes much to Burt Bacharach, Hal David and Dionne Warwick's earlier successes, and the Clark/Hatch team were not only aware of that style and the substance that brought Dionne so many hits, they emulated it as well as,
Petula tracking a superb Italian version of "Anyone Who Had A Heart" in Europe. The familiar Pet Clark vocal style is replaced with a "Message To Michael" phrasing as the singer makes it clear this individual can leave if he's not ready to give their relationship all. Problem is, he's probably already gone - and she wants him to come home, not only for the love, but for him to see the damage he's done. A little guilt along with the demands. "Baby come back to me, love me like you did before" runs along the lines of The Chantels' "Maybe" - or as '80's artist John Hovorka said about Janis Joplin's rendition of the Chantels hit, "maybe, but probably not." The strings and backing vocals get dramatic with the piano a la Bacharach/David, and it is dramatic in another way, a departure from the declarations that became the signature of Petula Clark's work. Even when she ventured into this world again with "Kiss Me Goodbye" three years later, it was with a new authority and self-affirming power. Here she is being someone else, and it is a good study, as well as being a fine listen.