3/15/26 Bobby Hebb’s SUNNY with his daughter Mary @ Charmaine Blake’s OSCAR Viewing Dinner Sofitel Hotel, Beverly Hills Ballroom, 8555 Beverly Boulevard 2pm
Featuring the songs Sunny (Bobby Hebb)
March 15 2026 Bobby Hebb’s SUNNY featured at the Oscar Viewing Dinner Sofitel Hotel, Beverly Hills Ballroom, 8555 Beverly Boulevard 2 PM Featuring the song Sunny (Bobby Hebb) This runway performance is a curated production by the Beatta J Collection. The event’s After Party when the tribute runway will take place, is being presented and conceptualized by the Beatta J Collection, a Los Angeles–based luxury designer.
Beatta writes us: “Additionally, as this tribute includes “Sunny” I think including that generational connection would complete the narrative and highlight Bobby Hebb’s legacy being celebrated on stage.”
John Connell of Fenix 360 Interviews Mary Lynn Love regarding the Oscar Viewing Party on Sunday March 15, 2026
thanks to John and T Dawn at BTD Radio Caliifornia for the interviews https://btdradio.com/2026/03/13/kitoto-von-hebb-bobby-hebb-sunny-oscar-viewing-dinner/
https://btdradio.com/2026/03/13/kitoto-von-hebb-bobby-hebb-sunny-oscar-viewing-dinner/
Check out Facebook clip here:
https://www.facebook.com/reel/1600498484608930
FOR IMMEDIATE RELEASE:
Join Bobby Hebb’s daughter, Mary Lynn Love, in a celebration of her dad and his song “Sunny.”
In a recent Mercedes Benz commercial (performed by Cruel Youth) SUNNY will be featured at the Oscar Viewing Dinner party on March 15th Oscar Viewing Dinner Sofitel Hotel, Beverly Hills Ballroom, 8555 Beverly Boulevard 2 PM
Mary Lynn Love performed “Sunny” at the Apollo Theater in New York City in February of 2014 in a show that featured the Toys, the Cookies, Mary Wilson of the Supremes, and many others.
Sofitel Los Angeles at Beverly HillsLos Angeles, CA
Sunday, Mar 15 from 2 pm to 11 pm
Overview
Join an intimate red carpet gala featuring live Oscar viewing, a 3-course dinner, celebrities, media & breathtaking cultural runway show
!
Join Us for the OSCAR VIEWING DINNER & EXCLUSIVE AFTER PARTY!
This Oscar Night, don’t just watch history — step inside it. Join an intimate Beverly Hills red carpet gala featuring live Academy Awards viewing, a three-course dinner, celebrity guests, media coverage, and a breathtaking cultural runway performance where fashion, music, and legacy unite — all in one unforgettable evening. This year, we proudly honor acclaimed actor Eric Roberts for his extraordinary career and lasting contributions to the entertainment industry.
Following the live Oscar broadcast, guests are in for a treat to attend specially orchestrated runway experience honors legendary music icons through meaningful tributes and special guest appearances. In collaboration with the daughters of legendary musicians and talented live performers, the runway transforms into an emotionally immersive performance blending couture fashion, live music, storytelling, and visual artistry.
Limited seating. Exclusive access. Once-a-year experience. https://www.eventbrite.com/e/unforgettable-oscar-viewing-dinner-exclusive-after-party-tickets-1983504101161?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=wsa&aff=ebdsshwebmobile
IN 1966 BOBBY HEBB TOURED WITH THE BEATLES ACROSS AMERICA
HERE IS BOBBY WITH HIS FRIEND RINGO STARR
The "Bobby Hebb - Sunny (Last Snooze Remix)" is a lo-fi/soul remix uploaded to SoundCloud by user Last Snooze on December 1, 2022. It is a remix of the classic 1963 soul standard "Sunny". While not directly found as a main result on YouTube, similar content is often found on SoundCloud or via YouTube "Topics" channels
Sunny Review by Joe Viglione https://www.allmusic.com/album/sunny-mw0000372598
Produced by Jerry Ross and arranged by Joe Renzetti, “Sunny” emerged from a twelve-song disc released on the Phillips label, a division of Mercury records. Although Bobby Hebb is known as “the song a day man,” he only composed three of the dozen titles included on this collection. The title track, of course, which was the song of the summer of 1966, “Yes or No or Maybe Not,” and “Crazy Baby.” The follow-up, “A Satisfied Mind,” was also a Top 40 hit that year, but it wasn’t until 1971, when Lou Rawls had a Top 20 hit with “Natural Man,” did Hebb get another smash. A pity, and a definite statement about the music industry when a man as prolific and talented as Robert Von Hebb constructs and delivers pop tunes with a voice and feeling that crosses genres and ethnic boundaries.
Kal Rudman himself penned the liner notes on the back of the disc (at the time he was R&B Editor of Record World Magazine, a publication still missed by the industry). Rudman reports that “Sunny” hit number one in Detroit and the surrounding area on the R&B, pop, and country & western charts. A monster smash, with covers by Ella Fitzgerald, Frank Sinatra with Duke Ellington, Star Trek’s Leonard Nimoy, there is no doubt this is Hebb’s signature tune, but according to Marty Balin of The Jefferson Airplane he has “a pocketful of Miracles,” implying the author/singer who gave us “Sunny” has mountains of songs that the world needs to hear. The producer/arranger team of Ross/Renzetti also penned “Bread,” the flip side of the first 45, and “Love Love Love” on this album. Ross and Gamble co-authored “You Don’t Know What You’ve Got Until You Lose It,” McCoy’s “For You,” and there’s even Barry Mann & Cynthia Weil‘s “Good Good Lovin’.” All in all, this is a very pleasant pop album that remains an important snapshot of an important artist at the peak of his powers.
As Rudman notes in the liners, Hebb was hired by Roy Acuff at the age of 12 to perform at the Grand Ole Opry. Hearing this album again makes one wonder why it isn’t mandatory for major labels to sign artists of Bobby Hebb’s stature for a minimum of 200 albums.
AI Overview
“Put a Little Love in Your Heart” is a
1969 hit song co-written and performed by Jackie DeShannon, reaching No. 4 in the U.S.. While often discussed by music critics like AllMusic’s Joe Viglione, the song was actually written by DeShannon with her brother Randy Myers and Jimmy Holiday.
Key Facts About the Song:
Release & Charting: Released in 1969, it became DeShannon’s highest-charting hit, peaking at #4 on the Billboard Hot 100 and #2 on the Adult Contemporary chart.
Composition: Written by Jackie DeShannon, her brother Randy Myers, and Jimmy Holiday.
Significance: It sold over one million copies and was awarded a gold disc.
Legacy: Covered by many artists, most famously a 1988 version by Annie Lennox and Al Green for the movie Scrooged.
Context: Joe Viglione has provided commentary on DeShannon’s work, often noting her talent as a singer-songwriter within the “adult contemporary folk” and pop-soul genres.
The song is considered a classic of the era and remains one of DeShannon’s signature achievements.
Jackie DeShannon: You Know Me Review by Joe Viglione https://www.allmusic.com/album/you-know-me-mw0000095235
It takes a few spins to understand, and it is one of this prolific singer’s many, many recordings, but when you spend some quality time with You Know Me, it starts unraveling its secrets in ways that only a truly great recording can. “Any Heart” is pure power, with the band weaving textures around Jackie DeShannon’s distinctive vocal, the guitar relentless as it sustains the wall of sound. A true labor of love, few artists can produce a song this strong, and the fact that it follows three equally powerful compositions is evidence of the majesty that sweeps across all 14 tracks. “Steal the Thunder” opens the album with authority -- the resonating grandeur Eric Carmen‘s “Hungry Eyes” contained, with a better hook. DeShannon places everything in perfect order, the vocal gliding over a groove that is rock-solid. “Wing Ryder” changes the pace, and you get the idea that this major songwriter is building an album more complex than Carole King‘s Tapestry -- sheer art for art’s sake. It ebbs and flows with an elegance younger musicians are too impetuous to seek out. The keyboards and guitars in “Wing Ryder” fuse styles that Fleetwood Mac and the Eagles were employing. And that’s the secret here: DeShannon hasn’t made another singer/songwriter album, she has shouldered a project akin to filming a major motion picture. “Somewhere in America” has a smart guitar riff and a wailing sax in the distance for one of the few ecology songs that isn’t hampered by bulky words. “Song for Sandra Jeanne (Rites of Passage)” is for the singer’s poet mom. It’s just beautiful, the album changing moods like a photo album with pages turning before you on the silver screen. Each song is an episode, with the title track a defiant affirmation of someone who has been with listeners through the years, from “Put a Little Love in Your Heart” to “Bette Davis Eyes.” While Lou Adler‘s sparse production on Tapestry allowed Carole King to bare her soul, DeShannon gives us a dense production, thick and rich, a wide range of sounds that could reinvent AAA radio if given the chance to be heard with the same presence as her best-known tunes. “Just How Right You Are” and “Red Montana Sky” are both driving and two of the more commercial tracks, with subtle hints of past work slipping into the lyrics. At close to 60 minutes, the 14 tracks are very much like a double LP. “There Goes the One” is a pensive recommitment, as graceful saxophone blends with the keyboards and the charming line, “I love the books that he reads.” “Vanished in Time” is clear and measured, a youthful exuberance embracing the wisdom of years. This is a transformation for the veteran songwriter, and she seems to be driven more by her incredible instincts than by record company mandate. Where You’re the Only Dancer, To Be Free, and earlier albums had an agenda most artists have to deal with, “Raze” is sound and performance, which shows real control. The drums drive the vocals and guitar backs DeShannon up with more dominance than maybe any album she’s ever made. “Red Montana Sky” keeps surfacing as the tune that should be embraced by radio. “Here On” seems out of place, the reggae too dramatic a departure for all the elements that came before. It throws the listener for a loop and has a different character than all the other tracks on You Know Me, but that’s either the luxury or the downside of artistic freedom, take your pick. Covering the Beach Boys‘ “Trader,” however, is a perfect conclusion, and a perfect vehicle for Jackie DeShannon’s timeless voice on an album that may take years before it is fully appreciated.
Jackie DeShannon For You Review by Joe Viglione
https://www.allmusic.com/album/for-you-mw0000778672
For You is Jackie DeShannon performing classy orchestrated adult contemporary pop songs in 1967, the same year Dusty Springfield tracked a similar collection entitled Where Am I Going. There is not a bad track on For You, and had DeShannon decided to follow Patti Page and continue creating music like this, she no doubt could have been very successful. Next to the rock & roll of the album she would release more than 30 years later, You Know Me, this is total culture shock, and goes to show the vast depth of DeShannon’s artistry. The beautiful Carole King/Gerry Goffin tune, “No Easy Way Down,” which Dusty Springfield cut as well, fits perfectly alongside Johnny Mercer classics like “Dream” and “Merry Go Round in the Rain.” Calvin Carter (who would co-produce DeShannon with Burt Bacharach and Hal David on the What the World Needs Now Is Love album) handles all the production chores here. His work with the Impressions, Jerry Butler, and Gene Chandler gives this DeShannon outing R&B mixed with the big band sound, but not with the fanfare that Petula Clark and Linda Ronstadt had accompanying their moves into this prestigious arena. “Don’t Dream of Anybody But Me” has Gerald Wilson arranging, providing lush instrumentation behind the ‘60s pop vocalist. Though it’s the only tune he works on here, it adds to his impressive resumé of work with Bobby Darin, Dizzy Gillespie, and the Los Angeles Philharmonic, and adds a nice dimension to this mix. Most of the album’s arrangements are by George Tipton, including the utterly fabulous Mercer track “Dream.” Tipton‘s repertoire includes work for Harry Nilsson, Brian Hyland, the Monkees, and José Feliciano, and the collaboration with producer Calvin Carter is a very nice pairing. The remake of Tommy Edwards‘ “It’s All in the Game” goes beyond the transistor radio boundary into the world where actressPia Zadora did a credible job in the ‘80s with her Pia & Phil and I Am What I Am albums. “Are We Dancing?” was originally in the Walt Disney film The Happiest Millionaire, while “When I Fall in Love” entertained fans of Nat King Cole and Sam Cooke. For a prolific songwriter like DeShannon to explore the rich sounds of these timeless compositions is all the more impressive years later. Sure, Roy Orbison cut “Dreams” (the Mercer tune, different from his own hit “In Dreams,” which would have been a nice addition to this as well); James Ray hit with Rudy Clark‘s “If You Gotta Make a Fool of Somebody” (covered in a more rock & roll version by Peter Noone on his great One of the Glory Boys LP); and the Ronettes put their stamp on the Bob Crewe/G. Knight number “Everything Under the Sun,” but Jackie DeShannon’s renditions are removed from the world where she and her colleagues achieved their greatest notoriety: hit radio. The song selection is very impressive, jazz legend Neal Hefti (who later wrote the “Batman Theme” for television) is represented by the opening track, “Don’t Dream of Anybody But Me,” and it is exquisite, setting the stage for DeShannon’s vocals to glide over all these lovely melodies. Richard Oliver pens a poem, “For You,” for the back cover instead of his liner notes, but the album jacket looks like a regular Jackie DeShannon release. Looks can be deceiving. The disc bridges the gap between “What the World Needs Now Is Love,” and the classy singers who reigned on the radio before rock & roll merged with pop. Few could do this and do it so well.
Jackie DeShannon What the World Needs Now Is Love Review by Joe Viglione https://www.allmusic.com/album/what-the-world-needs-now-is-love-mw0000851131
Jackie DeShannon’s exquisite “What the World Needs Now Is Love” leads off this collection, and it’s quickly followed by a cover of the Dusty Springfield hit “You Don’t Have to Say You Love Me,” as well as a version of “It’s All in the Game,” making for a very recognizable three songs in a row on this 1968 release featuring as its title her 1965 Top Ten hit, originally on the This Is Jackie DeShannon album. What THIS is, is another stellar set of vocal performances with DeShannon being produced and arranged by a dazzling array of industry names. “So Long Johnny” is a pop tune by Burt Bacharach and Hal David which sounds so much like their Dionne Warwick work it is interesting to hear another great singer in that setting. “Windows and Doors” follows the same formula, while “Changing My Mind” could have been straight from the session that produced Petula Clark‘s “I Couldn’t Live Without Your Love.” Bacharach tracked the hit on his own, while Calvin Carter, who produced the For You album, collaborates with Bacharach and David on a number of songs here. Dick Glasser‘s production of “Little Yellow Roses” is the only one of the dozen songs with his participation; the country ballad is a real departure from the rest of the album, even with the arrangement by Jack Nitzsche. There are five arrangers in all, and an interesting cover concept. Jackie DeShannon appears on the front barefoot against a tree, holding a bouquet, while on the back cover she holds the bouquet with two boys, a Caucasian and an African American. It wasn’t something you saw often in the ‘60s, and truly held with the sentiment of the title track. Tony Hatch‘s “Call Me” ends the album, and you knew from “Changin’ My Mind” that those involved here were listening to Hatch‘s work, his influence among the many in the grooves of this fine recording. The interesting thing here is that Arthur Wright‘s sweeping arrangement sounds less like the work of Tony Hatch than Clydie King‘s ideas on the previously mentioned “Changin’ My Mind.” This version of “Call Me” fades too fast, and has that big band sound DeShannon employed on the For You album. “A Lifetime of Loneliness” recalls the sounds on popular Gene Pitney records, while Bob Crewe‘s “Everything Under the Sun” is a perfect Phil Spector-style pop ballad. What the World Needs Now Is Love offers many moods and sounds from the ‘60s through the voice of DeShannon. Not only is the title track one of her most recognizable hits, this album is a precious look at more of DeShannon’s interpretation of other songwriters. Her only composition here is “Where Does the Sun Go?,” while Bacharach and David get five of the seven titles. Their “Too Wait for Love” is more of the laid-back West Coast pop that they did so well and is a nice addition to the DeShannon catalog.
https://en.wikipedia.org › wiki › Bette_Davis_Eyes
“Bette Davis Eyes“ was written in 1974 by Donna Weiss and Jackie DeShannon ... Joe Viglione of AllMusic believed that “Bette Davis Eyes“ was superior to ...Read more
AI Overview
+4
“Bette Davis Eyes” was
co-written and originally recorded by Jackie DeShannon in 1974 for her New Arrangement album, though it became a massive 1981 hit for Kim Carnes. Music critic Joe Viglione of AllMusic has analyzed the song and DeShannon’s work, highlighting its significance and distinctiveness from other versions.
Facebook +3
Key Aspects of “Bette Davis Eyes”
Origin: Written by DeShannon and Donna Weiss, the song was initially a slower, bluesy track on DeShannon’s 1974 album.
Impact: The 1981 synth-pop version by Kim Carnes topped the U.S. Billboard Hot 100 for nine weeks
.
