This song was first released in 1957, when I was too young to know much about it. But in 1963 The Kingsmen recorded a cover version and by that time I was 11, and already into all kinds of music. Considered to be R&B, it seemed to defy any genre to me at that age, and felt completely unique. I had a copy on vinyl and played it constantly, even though the lyrics were very simple, about someone returning home across the sea to his girlfriend.
That didn’t matter, as this song had a ‘Vibe’ and it still does today. Since 1963 the song has been covered almost 2,000 times, by hordes of other performers. It’s The Kingsmen’s version that takes me back to my childhood bedroom though.
This is the second time this song has been mentioned on my blog, indicating the significance it has held for me for many years. Since 1963 in fact, when I was eleven years old, and heard it for the first time. Although I didn’t know back then, this was not the original, which was written and recorded by Richard Berry in 1955, and released in the UK two years later. Then came the second version, from Robin Roberts, in 1960. I didn’t hear that one either.
I had to wait another few years, for the cover by The Kingsmen, which became the most popular recording of the song, and gave the band a worldwide hit, that endures to this day. This group from Oregon went on to make many records after that, but I never heard any of them. For me, one was enough. A driving beat, some not-so great organ playing, and somewhat meaningless (and hard to decipher) repetitive lyrics, all adding up to a timeless classic that was also something of an anthem for the Mods in Britain during the 1960s. And it is much less than three minutes long too.
I carried on playing this well beyond my teens, and never tired of it. I didn’t attempt to delve into it, and never tried to analyse it. I simply enjoyed the good feeling it gave me. It seemed that many others agreed, and the song became lauded as the most covered record in history, with over 1,500 versions known to have been made, including those by Otis Redding, The Beach Boys, and British band The Kinks. Years later, it was again covered by artists as diverse as Motorhead, John Lennon, and Blondie.
It was also brought to new audiences on film soundtracks, including ‘American Graffiti’, ‘This Is England’, ‘Police Squad, and ‘Quadrophenia’. It was also sung by John Belushi’s character in the film ‘National Lampoon’s Animal House’, and there is an instrumental version played by the marching band in the film ‘The Naked Gun’. The song had stood the test of time, and become a cultural icon in the process.
I love it as much today as I did 53 years ago. Can’t say that about many songs.
Here is a clip of the band miming to the song on a TV show.
Continuing what seems to be a musical theme this week, I am recalling some of the soul songs, and dance classics, of my teenage years. They are all from America on this occasion, as the main alternatives here at the time were the Mersey Sound, or belated Rock and Roll. I doubt that this selection will attract that wide an audience, or receive a great deal of appreciation, as it is all in something of a niche market. However, as a memento of the parties and clubs of my youth, it is a priceless personal souvenir.
Tell it like it is. ( 1967) The ultimate slow dance track, from the smooth voice of Mr Aaron Neville. I was not much past fifteen when this was released, and I have played it regularly ever since, for over forty-six years.
Louie Louie. Not the original 1957 version, but the 1963 release by The Kingsmen. This became a Mod classic in the UK during the early 1960’s. Covered many times since, nobody beats the early funky feel of this dance-floor essential. Despite sounding like a group of black singers, with very soulful lead vocals, they were actually all white, and appeared strangely camp, clad in cardigans, and wearing caps. Can’t beat the 60’s!
Seven Days Is Too Long. (1967) This simple soul dance hit from Chuck Wood became a big hit in the UK, on more than one occasion. It has become one of the hall of fame records for fans of so-called ‘Northern Soul’, the American records played almost exclusively in clubs in the North of England. Even at 61, I cannot keep my feet still!
Nothing Can Stop Me. (1965) Snappy suited, with a Motown look and feel, Gene Chandler got feet tapping with this one. Better known for the huge hit ‘Duke of Earl’, Chandler moved on to greater things with this track, another adopted by those Northern Soul aficionados.
Barefootin’. Again in 1965, Robert Parker ensured that dance floors were filled with this upbeat recording. The subject of a few covers over the years, this is the original, and best, from the man himself.
Cool Jerk. A year later, in 1966, The Capitols released this one-off. Almost in its own genre, it is still undoubtedly a classic; as the numerous cover versions, and inclusion in film soundtracks, can testify.
Comin’ Home Baby. This 1962 song, by Mel Torme, is not a soul song at all. It could be called Jazz, possibly even Swing. Looking back at Mel through modern eyes, he seems somewhat ridiculous. Sharp suit, bulging eyes, college-boy haircut, and snapping fingers clutching a cigarette. But he was the epitome of cool in 1962, and to my mind, this is still one of the coolest records ever made. This video is like watching a history documentary, but they are still doing this sort of crap on ‘Strictly Come Dancing’. Perhaps better to not watch him though. Close your eyes and listen.
I Get The Sweetest Feeling. Already well known for ‘Reet Petite’, and ‘Higher and Higher’, Jackie Wilson made the journey from Doo-wop, to modern soul, throughout the 50’s and 60’s. This track is on my list for the memories it brings back to me, from 1968. His influence is self explanatory, when you recall the Van Morrison song ‘Jackie Wilson Said’, recorded in 1972.
When I’m Gone. Saving the best until last perhaps, this short love song from the wonderful Brenda Holloway sums up the early years of Tamla Motown, from 1965, and I simply love it.
There are many, many more, but this is just a snapshot of the party tunes of my youth. I enjoyed them, then and now, and I hope that you do too.
beetleypete 