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.

Favorites: Harry Belafonte (1961-1964)

The listener actively looks forward to listening to the favorite band’s music more than any other music

J. Eric Smith, a blogger of my acquaintance, tried to answer the question, “So, who’s your favorite band?” Now I could answer The Beatles and be done with it. But like Eric, “I am so musically omnivorous.”

Moreover, there were periods when I was listening to TONS of compilation albums. The Warner Brothers Loss Leaders. A series of Atlantic Records collection of R&B, jazz, and blues. Actually several collections of blues (Chess, Alligator) and rock, pop, jazz, and country.

But I’m up for the challenge anyway. Eric’s rubric:

The listener actively looks forward to listening to the favorite band’s music more than any other music, and does so weekly, if not daily;
The listener seeks to have a complete collection of the favorite band’s work, and is willing to spend a little bit more money than usual to acquire it, with special attention paid to albums or singles that less-enthusiastic fans might never find or hear;
The listener never grows tired of the favorite band and its works, and anytime they come on the stereo or radio, no matter what the song, it is greeted with volume rising and singing along;
The listener seeks to learn more about the favorite band, and will often buy books or magazines or watch television or internet shows related to its members and their music;
The listener makes an effort to see the favorite band in a live setting as often as practically possible.

I’ll start at the very beginning. But 1) I’m not going to create links UNLESS I’ve not done it before, 2) I’m not going to limit it to bands.

The Everly Brothers (- 1960). My father had a bunch of singles. at least a couple of them were the Everly Brothers. So I began to recognize them on the radio.

Harry Belafonte (1961-1964). Most of these are from the My Lord What A Mornin’ album, which I finally bought on CD in the 2010s. From #10-#1:

Mama Look A Boo Boo
Matilda
Jamaica Farewell
March Down to Jordan
Mary’s Boy Child

Jump in the Line (Shake, Senora)
Wake Up, Jacob
My Lord What A Mornin’
Banana Boat Song
‘Buked and Scorned

I should make a special note of There’s A Hole in My Bucket, which he performed with the late, great Odetta. I don’t recall hearing it at the time, but it was a song my father used to sing before my sister Leslie and I stole it from him.

BTW, if I had to pick a GROUP for the early 1960s, I’d be hard-pressed. Maybe The Drifters, based entirely on hearing them on the radio.

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.”

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