The song Only In America

Mann and Weil

An old blogger buddy included the song Only In America in his K-Chuck Radio post, Just wipe the vocals off, and we’ll take care of things.

One example of his: the backing tracks of California Dreamin’ by Barry McGuire and by The Mamas and The Papas are virtually identical. I had heard the McGuire version some years ago.

The Only In America story is somewhat more complicated. The great Brill Building songwriters Barry Mann and Cynthia Weil initially wrote the piece. As Songfacts noted:

“The song was written at a time before integration, and the lyrics were originally about racism. It had the following chorus:

Only in America, land of opportunity
Can they save a seat in the back of the bus just for me

Only in America, where they preach the Golden Rule
Will they start to march when my kids go to school”

To the best of my knowledge from the different tellings, this version was never recorded.

New lyrics

“The [new, additional] songwriters [producers Jerry Leiber and Mike Stoller] changed [the lyrics] to be a satiric message of patriotism. The Drifters recorded the song with these new ‘patriotic’ lyrics but refused to release it because they did not believe that message.”

Only in America Can a guy from anywhere
Go to sleep a pauper and wake up a millionaire

Only in America Can a kid without a cent
Get a break and maybe grow up to be President

A 2008 article in the Long Beach Post offers a different explanation for why the Drifters didn’t release the tamer version.

“The song, with its gentle Latin rolling beat and percussion thump, could have been the next chart hit for the Drifters if Atlantic Records executive Jerry Wexler hadn’t pulled the recording. Wexler said that, in the light of race relations of that time, it would be unfeeling, unfair, and unfitting to have a black group release a song about America being the land of opportunity and suggest that an African-American could become its president.”

The song was recorded a few months later by Jay and the Americans, who Leiber and Stoller produced. It became a moderate hit, reaching #25 pop on the Billboard charts. I remember the Americans’ version then, and as a kid, I found it not credible.

In any case, The Drifters’ version appeared for the first time in the 1972 UK LP “Saturday Night At The Club.”  The cut was conducted by Garry Sherman and recorded on April 12, 1963. 

Lead singer

I’ve read in several sources that Rudy Lewis was the lead singer on The Drifters’ version. One of the YouTube videos of Only In America lists the group at the session as Billy Davis, Charlie Thomas, Eugene Pearson, Johnny Terry, and Lewis.

Marv Goldberg’s Later Drifters notes: “At their April 12 [1963] session, they recorded Only In America (led by Rudy), Rat Race (Rudy) [#71 pop], If You Don’t Come Back (Johnny Moore), and I’ll Take You Home (Johnny Moore).”

From a 2016 From The Vaults post: “Lewis is probably the most underrated of all the Drifters’ lead singers. He had the bad fortune to come in after Ben E. King redefined the group’s sound and never got the recognition that King did.” And King had had a series of solo hits.

Nevertheless, Lewis, who sang with the legendary gospel arranger Clara Ward,  was the primary lead from 1961 to 1963 and had hits such as Some Kind Of Wonderful (#6 RB, #32 pop in 1961), Up On The Roof (#4 RB, #5 pop in 1963) and On Broadway (#7 RB, #9 pop in 1963). He died in 1964, at least in part from drug use, an early member of the 27 Club.  He is in the Rock and Roll Hall of Fame.

Here’s Jay & the Americans with Charlie Thomas’ Drifters performing Only in America live, obviously many years later.

Music Throwback Saturday: On Broadway

A young Phil Spector played the distinctive lead guitar solo on The Drifters’ recording.

ClaudeMckayI’ve been involved with an office JEOPARDY! game. A recent clue: “A hundred shouting signs shed down their bright fantastic glow” in Claude McKay’s “On” this NYC street. No idea, but because of a question I’d missed earlier, I take a guess, and it’s correct.

Here’s On Broadway by Claude McKay, a rather melancholy piece:
Upon the merry crowd and lines
Of moving carriages below.
Oh wonderful is Broadway — only
My heart, my heart is lonely.

Claude McKay was born in Jamaica on September 15, 1889, and became an early key figure in the Harlem Renaissance of the 1920s.

I wonder if the poem inspired a song a few decades later:

New York City-based composers Barry Mann and Cynthia Weil wrote On Broadway “originally recorded by the Cookies (although the Crystals’ version beat them to release)”…

“Jerry Leiber and Mike Stoller liked the song but felt that it was not quite right [for the Drifters] and the four held an overnight brainstorming session which culminated in the better-known version of the song, now with a rock-oriented groove and with a more bluesy feel… A young Phil Spector played the distinctive lead guitar solo on The Drifters’ recording.”

LISTEN to On Broadway

The Cookies

The Crystals

The Drifters, #9 pop, #7 soul in 1963

Dave Clark Five

The Chipettes

Bobby Darin

Percy Faith Orchestra

Neil Young

George Benson, #7 pop, #2 soul

“George Benson’s version… from his 1978 album Weekend in L.A…. won a Grammy Award for Best R&B Vocal Performance. The song appeared in the films Big Business and American Beauty, and… was used in the 1979 film All That Jazz in a sequence that featured dancers on stage auditioning for a musical similar to Chicago. George Benson also performed “On Broadway” with Clifford and the Rhythm Rats for the 1994 Muppet album Kermit Unpigged.”

M is for Barry Mann and Cynthia Weil

Barry Mann and Cynthia Weil’s induction into the Rock and Roll Hall of Fame occurred during the 50th year of their personal and professional collaboration.

mann-weil2In the hit Broadway show Beautiful: the Carole King Musical, the characters portraying songwriters Barry Mann and Cynthia Weil express having a complicated relationship with competing songwriters King and her then-husband, the late Gerry Goffin, back in the 1960s.

From a February 2015 CBS Sunday Morning interview: “That was absolute truth,” replied Weil. “It was the most conflicting relationship I think we’ve ever had with anybody. Because we loved them, we hated them, we were competitive with them, we cheered for them, we cheered for ourselves.”

You may never have heard of Barry Mann (b. February 9, 1939, in Brooklyn, New York City) and Cynthia Weil (b. October 18, 1940, in New York City), but it is most likely that you have listened to their many songs, most of which are linked HERE, and many of which charted.

“Blame It on the Bossa Nova” – Eydie Gorme
“Don’t Know Much” – Aaron Neville and Linda Ronstadt (written with Tom Snow)
“He’s Sure the Boy I Love” – The Crystals
“Hungry” – Paul Revere & the Raiders
“Kicks” – Paul Revere & The Raiders
“Make Your Own Kind of Music” – “Mama” Cass Elliot
“On Broadway” – The Drifters; George Benson (written with Jerry Leiber and Mike Stoller)
“Only in America” – The Drifters (unreleased); Jay and the Americans
“Somewhere Out There” – Linda Ronstadt and James Ingram
“The Shape of Things to Come” – Max Frost and the Troopers
“Walking in the Rain” – The Ronettes; The Walker Brothers
“We Gotta Get out of This Place” – The Animals
“Who Put the Bomp (in the Bomp, Bomp, Bomp) – Barry Mann (written with Gerry Goffin)
“(You’re My) Soul and Inspiration” – The Righteous Brothers; Donny and Marie Osmond
“You’ve Lost That Lovin’ Feelin'” – The Righteous Brothers; Dionne Warwick; Hall & Oates; Roberta Flack-Donny Hathaway (written with Phil Spector)

In 1987, they were inducted into the Songwriters Hall of Fame. They were inducted into the Rock and Roll Hall of Fame in 2010. Their bio notes:

They’re… one of the longest-running teams in the music business, having been collaborators since 1960. Their induction into the Rock and Roll Hall of Fame occurred during the 50th year of their personal and professional collaboration.

In addition to longevity, they’ve exhibited great stylistic range in their work, from epic ballads… to outright rockers… They are also among pop’s most prolific songwriters as well; Mann has nearly 800 and Weil nearly 600 works registered with Broadcast Music, Inc. It’s estimated that Mann and Weil’s songs are responsible for the sale of 200 million records.

They have been married since 1961.

Mann’s other movie work includes the scores for I Never Sang for My Father and Muppet Treasure Island, and songs for National Lampoon’s Christmas Vacation and Oliver and Company. He is an occasional recorded singer and active photographer.

“In 2004, Mann and Weil’s They Wrote That?, a musical revue based on their songs, opened in New York. In it, Mann sang and Weil related stories about the songs and their personal history.”

ABC Wednesday – Round 16

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