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Bring It on Home to Me

"Bring It on Home to Me"
Bring it On Home Cooke.png
Single by Sam Cooke
A-side "Having a Party"
Released May 8, 1962
Format 7"
Recorded April 26, 1962
RCA Studio 1
(Hollywood, California)
Genre Rhythm and blues, soul
Length 2:37
Label RCA Victor
Writer(s) Sam Cooke
Producer(s) Hugo & Luigi
Sam Cooke singles chronology
"Twistin' in the Kitchen with Dinah"
(1962)
"Bring It on Home to Me"
(1962)
"Somebody Have Mercy"
(1962)
"Bring It On Home to Me"
Bring It On Home to Me cover.png
Single by The Animals
from the album Animal Tracks (U.S. album)
B-side "For Miss Caulker"
Released March 1965
Format 7" single
Recorded March 1965
Genre Rock, blues, pop, soul
Length 2:43
Label Columbia
Writer(s) Sam Cooke
Producer(s) Mickie Most
The Animals singles chronology
"Don't Let Me Be Misunderstood"
(1965)
"Bring It On Home To Me"
(1965)
"We Gotta Get out of This Place"
(1965)
"Bring It on Home to Me"
Single by Mickey Gilley
B-side "How's My Ex Treating You"
Released June 1976
Format 7"
Recorded May 1976
Genre Country
Length 2:23
Label Playboy 6075
Writer(s) Sam Cooke
Producer(s) Eddie Kilroy
Mickey Gilley singles chronology
"Don't the Girls All Get Prettier at Closing Time"
(1976)
"Bring It on Home to Me"
(1976)
"Lawdy Miss Clawdy"
(1976)

"Bring It on Home to Me" is a song by American soul singer Sam Cooke, released on May 8, 1962 by RCA Victor. Produced by Hugo & Luigi and arranged and conducted by René Hall, the song was the B-side to "Having a Party". The song peaked at number two on Billboard's Hot R&B Sides chart, and also charted at number 13 on the Billboard Hot 100.

The song has become a pop standard, covered by numerous artists of different genres. It is one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.

"Bring It on Home to Me", like its A-side, "Having a Party", was written while Cooke was on tour for Henry Wynn. The song was initially offered to fellow singer Dee Clark, who turned it down. While in Atlanta, Cooke called co-producer Luigi Creatore and pitched both numbers; he was sold and booked an immediate recording session in Los Angeles scheduled for two weeks later. The session's mood "matched the title" of the song, according to biographer Peter Guralnick, as many friends had been invited. "It was a very happy session," recalled engineer Al Schmitt. "Everybody was just having a ball. We were getting people out there [on the floor], and some of the outtakes were hilarious, there was so much ad lib that went on."René Hall assembled an eighteen-piece backing group, "composed of six violins, two violas, two cellos, and a sax, plus a seven-piece rhythm section that included two percussionists, two bassists, two guitars, and a piano."


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