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===Other versions===
===Other versions===
By February 12, 1955, there were at least four more versions of ''Ko Ko Mo''released:<ref>''The Billboard''(February 12, 1955):32.</ref> [[The Dooley Sisters]] ([[Tampa Records|Tampa]] 100), [[Louis Armstrong]] & [[Gary Crosby]] (Decca 29420),<ref>''The Billboard''(February 12, 1955):46.</ref><ref>Michel Ruppli, ed., ''The Decca Labels: A Discography. Vol. 1: The California Sessions'' (Greenwood Press, 1996):539.</ref> [[Tito Rodríguez]] (Victor 47-5998),<ref>''The Billboard''(February 12, 1955):48.</ref> and [[Otis Williams and the Charms|The Charms]] ([[De Luxe Records|De Luxe]] 6080).<ref>''The Billboard''(February 12, 1955):32.</ref><ref>Jon Hartley Fox, ''King of the Queen City: The Story of King Records'' (University of Illinois Press, 2009):104.</ref><ref>Jay Warner, ''American Singing Groups: A History from 1940s to Today'' (Hal Leonard Corporation, 2006):109, 110.</ref> The Charms' version, "an attempt to hijack Gene And Eunice's 'Ko Ko Mo' in February 1955 failed, and saw the group return to writing originals."<ref>Colin Larkin, ed., ''The Encyclopedia of Popular Music'', 4th ed. (Oxford University, 2000):306.</ref>
By February 12, 1955, there were at least four more versions of ''Ko Ko Mo''released:<ref>''The Billboard''(February 12, 1955):32.</ref> [[The Dooley Sisters]] ([[Tampa Records|Tampa]] 100), [[Louis Armstrong]] & [[Gary Crosby]] (Decca 29420),<ref>''The Billboard''(February 12, 1955):46.</ref><ref>Michel Ruppli, ed., ''The Decca Labels: A Discography. Vol. 1: The California Sessions'' (Greenwood Press, 1996):539.</ref> [[Tito Rodríguez]] (Victor 47-5998),<ref>''The Billboard''(February 12, 1955):48.</ref> and [[Otis Williams and the Charms|The Charms]] ([[De Luxe Records|De Luxe]] 6080).<ref>''The Billboard''(February 12, 1955):32.</ref><ref>Jon Hartley Fox, ''King of the Queen City: The Story of King Records'' (University of Illinois Press, 2009):104.</ref><ref>Jay Warner, ''American Singing Groups: A History from 1940s to Today'' (Hal Leonard Corporation, 2006):109, 110.</ref> The Charms' version, recorded on January 11, 1955 on the De Luxe label,<ref>Marv Goldberg, [[http://www.uncamarvy.com/Charms/charms.html "Otis Williams & The Charms: Based on Interviews with Otis Williams"] (2003; 2009).</ref> "an attempt to hijack Gene And Eunice's 'Ko Ko Mo' in February 1955 failed, and saw the group return to writing originals."<ref>Colin Larkin, ed., ''The Encyclopedia of Popular Music'', 4th ed. (Oxford University, 2000):306.</ref> Their version was withdrawn from sale by the end of February 1955.<ref>Marv Goldberg, [[http://www.uncamarvy.com/Charms/charms.html "Otis Williams & The Charms: Based on Interviews with Otis Williams"] (2003; 2009).</ref>


By the end of February 1955, [[Andy Griffith]] (Capitol 3057) satirized the song in which he described the love affair of a lady wrestler and a referee.<ref>The Billboard (February 26, 1955):52.</ref> By March 19, 1955, at least another 4 versions were recorded,<ref>''The Billboard'' (March 19,1955):30.</ref> including those by [[Jack Caldwell]] (with Jackie Hill) (King 1442),<ref>''The Billboard''(February 26, 1955):58.</ref><ref>''The Billboard''(March 19, 1955):48.</ref> [[Marvin & Johnny]] ([[Modern Records|Modern]] 949), [[Goldie Hill]] & [[Red Sovine]] (Decca 29411), and country singer [[Hawkshaw Hawkins]] (Victor 47-6022).<ref>''The Billboard'' (March 19,1955):30.</ref> Another recording was also made by [[Barry Frank]] (with the Four Bells) (Bell Records).
By the end of February 1955, [[Andy Griffith]] (Capitol 3057) satirized the song in which he described the love affair of a lady wrestler and a referee.<ref>The Billboard (February 26, 1955):52.</ref> By March 19, 1955, at least another 4 versions were recorded,<ref>''The Billboard'' (March 19,1955):30.</ref> including those by [[Jack Caldwell]] (with Jackie Hill) (King 1442),<ref>''The Billboard''(February 26, 1955):58.</ref><ref>''The Billboard''(March 19, 1955):48.</ref> [[Marvin & Johnny]] ([[Modern Records|Modern]] 949), [[Goldie Hill]] & [[Red Sovine]] (Decca 29411), and country singer [[Hawkshaw Hawkins]] (Victor 47-6022).<ref>''The Billboard'' (March 19,1955):30.</ref> Another recording was also made by [[Barry Frank]] (with the Four Bells) (Bell Records).

Revision as of 13:30, 21 May 2013

"Ko Ko Mo (I Love You So)" is a popular novelty song written in late 1954 by the Rhythm & Blues partnership of Forest Gene Wilson and Eunice Levy,[1] and also credited to Jake Porter. One of the earliest rock and roll songs,[2] it was probably "the most extensively recorded rock 'n' roll song of that time".[3] The song spent 14 weeks in the Billboardcharts from January to April 1955, and peaked at #3 in its Honor Roll of Hits in the week ending March 2, 1955.[4] Originally recorded by R&B duo Gene and Eunice (Wilson and Levy), it was covered by at least 17 different musicians in the first few months of 1955 alone. The version by Perry Como, RCA's first rock 'n' roll release,[5] was the most successful,[6] reaching #2 on the Billboard charts in February 1955, while a version by The Crew-Cuts reached #6 on the Pop charts that same month.[7] Gene and Eunice's version reached #6 onthe Billboard R&B charts.

History

Forest Gene Wilson (born about 1932 in San Antonio, Texas; died in July 24, 2003 in Las Vegas, Nevada) (known professionally as Gene Forrest) and Eunice Levy (born May 10, 1931 in Texarkana, Texas; died May 26, 2002), who were romantically involved with one another (and later married) and known as "The Sweethearts of Rhythm & Blues",[8] wrote the song together in late 1954. Classified as a rhythm and blues song, it featured Dave Bartholomew's much-used three-beat Caribbean or Latin riff,[9] and a habanera bassline.[10]

Gene and Eunice

Performing under the name Gene and Eunice, in late 1954 Wilson and Levy made the first recording of the song, backed by Jonesy's Combo (which included saxophonist Brother William Woodman's band),[11][12] in the studio in the basement of veteran musician Jake Porter's home, and released on his Combo label (Combo 64) as their first single.[13][14] On the 78rpm version (Combo 64-A), the songwriting was credited to G. Forest and Porter (as V. Haver), with no credit given to Levy,[15] however the 45rpm version (Combo 45 64-A) credited Forrest (as F. Wilson), Porter, and Levy as the songwriters.[16] Played by pioneer rock and roll disc jockey Alan Freed on his program on 1010 WINS from New York city,[17] this version of the song "hit it big in New York and Chicago very quickly".[18]

However, in late January 1955, Aladdin Records, which had Forrest on contract as a solo artist, claimed ownership of the team of Gene & Eunice, and had them record another version of the song[19] with Johnny Otis's band (billed as Johnny's Combo--perhaps as a slap at Combo Records) (Aladdin 3276).[20][21] Aladdin, a much larger independent label than Combo, ran an ad in Billboard announcing: "Don't Be Fooled! This Is The Gene & Eunice Ko Ko Mo." While the songwriting was credited to Wilson, Porter and Levy,[22] Aladdin also claimed the publishing rights,[23] which Porter had only a few weeks earlier sold to the E.H. Morris Publishing Company's Meridian Music for an advance of $5,000,[24][25] with the result that Forrest and Levy received very little of the songwriting royalties due them.[26]

The Combo and Aladdin singles, counted as one unit by Billboard's compilers,[27] entered the Billboard R&B charts in the week ending January 26, 1955,[28] and spent 7 weeks in the charts,[29] before it reached #7 in the week ending February 16, 1955,[30] before peaking at #6 on the R&B charts.[31][32]

Cover versions

Encouraged by findings of the US Federal Court in the A Little Bird Told Me case that permitted cover versions,[33] and fueled by advance rumors that the song was a likely hit,[34] by the end of January 1955, cover versions had been recorded by Perry Como (RCA Victor 20-5994A),[35] The Crew-Cuts,[36][37] The Hutton Sisters (Marion Hutton and Betty Hutton) (Capitol 303), and the Bill Darnel & Betty Clooney duo (X Records X-0087).[38] However, pioneer rock and roll disc jockey Alan Freed refused to play the copycat 'cover' versions of R&B hits (including "Ko Ko Mo") which were rapidly being turned out by the major pop labels,[39] as he believed that they were imitative of the originals and that his audience quickly detected their lack of authenticity.[40]

Perry Como

"Ko Ko Mo"
Song

The most popular and commercially successful version of Ko Ko Mo (I Love You So), was that of Perry Como,[41] "the quintessential white pop crooner of the 1950s",[42] who recorded his version at Webster Hall, New York on January 4, 1955,[43] as the first rock 'n' roll release on the RCA Victor label.[44] Shapiro and Pollock see Como's version as part of "the industry effort to whitewash the racy, raunchy music of rhythm and blues before anyone's daughter heard it".[45]

Como's version was promoted extensively in a two-page advertising spread in The Billboard magazine on January 15, 1955,[46][47] headlined as "DIG PERRY IN ACTION ON A GREAT 'ROCK-AND-ROLL' RECORD".[48] Eventually the song spent 14 weeks in the Billboardcharts,[49] peaking on March 2, 1955, when it was ranked #2 onBillboard's Disc Jockey Chart, #5 on the Best Sellers in Stores chart, and #5 on the Juke Box Chart.[50] At the end of 1955, Como's version was ranked by Billboard Magazine as #22 on its Disc Jockey charts and #25 of the year's Top Tunes based on record sales.[51][52]

Como performed the song on his NBC television program The Perry Como Show on October 29, 1955 and again on April 28, 1956,[53] this time with Louis Armstrong,[54] who who covered the song with Gary Crosby in early 1955.

Despite its commercial success, Como's version is regarded by some critics as being one of his worst recordings, due to his reluctance to record the song, his apparent discomfort, an inane choral backing, and losing both the rhythm and meter of the song in the final chorus.[55] Albin Zak described Como's version as a "bizarre transformation emphasizing the novelty element to the point of Spike Jonesishparody."[56]

The Crew-Cuts

"Ko Ko Mo"
Song

Canadian singing group The Crew-Cuts' version of Ko Ko Mo was released by Mercury Records as catalog number 70529. It first reached the Billboard magazine charts on January 29, 1955. It spent 14 weeks in the Billboard charts.[57] On the Disk Jockey chart, it peaked at #11; on the Best Seller chart, at #10; on the Juke Box chart, at #6. [58] The song was one side of a two-sided hit, with the flip side being "Earth Angel."

Defending against the criticism that they and other white artists were being "predatory" by "systematically pillaging the R&B charts" and recording cover versions of songs written by black musicians,[59][60] Crew-Cut member Rudi Maugeri responded:

"If we hadn't done "Don't Be Angry" or "Ko Ko Mo (I Love You So)" or "Earth Angel", these songs would not have helped black groups get their songs to the white masses. They helped us by writing good Material, and we helped them by doing their material and presenting it to white audiences."[61]

The Flamingos

Because the Gene and Eunice recording of the song was making noise in early 1955, Chicago blues label Parrot Records owner Al Benson encouraged The Flamingos to record the song (Parrot 812).[62][63][64][65] Released in March 1955, the single features Nate Nelson and Johnny Carter in unison on lead, but it was never able to steal the thunder from the Gene and Eunice version.[66]

Other versions

By February 12, 1955, there were at least four more versions of Ko Ko Moreleased:[67] The Dooley Sisters (Tampa 100), Louis Armstrong & Gary Crosby (Decca 29420),[68][69] Tito Rodríguez (Victor 47-5998),[70] and The Charms (De Luxe 6080).[71][72][73] The Charms' version, recorded on January 11, 1955 on the De Luxe label,[74] "an attempt to hijack Gene And Eunice's 'Ko Ko Mo' in February 1955 failed, and saw the group return to writing originals."[75] Their version was withdrawn from sale by the end of February 1955.[76]

By the end of February 1955, Andy Griffith (Capitol 3057) satirized the song in which he described the love affair of a lady wrestler and a referee.[77] By March 19, 1955, at least another 4 versions were recorded,[78] including those by Jack Caldwell (with Jackie Hill) (King 1442),[79][80] Marvin & Johnny (Modern 949), Goldie Hill & Red Sovine (Decca 29411), and country singer Hawkshaw Hawkins (Victor 47-6022).[81] Another recording was also made by Barry Frank (with the Four Bells) (Bell Records).

In August 1959 Joe Houston released another version of the song (Combo 157).[82] In 1961 The Flamingos re-released a version of the song (End 1085).[83][84]

Discography

Singles

Albums

  • The Crew-Cuts Crew Cut Capers (1957; Mercury).
  • The Flamingos The Flamingos (1959; Chess).
  • Betty Hutton Betty Hutton at the Saints and Sinners Ball (1959; reissued by Sepia Records in 2009) features duet with Marion Hutton.
  • Louis Armstrong & His All-Stars Happy Birthday, Louis!: Live at the Newport Jazz Festival 1960 (1960).
  • Perry Como Make Someone Happy (1962; RCA Victor Camden CAL 694).
  • The Crew-Cuts High School Favorites (1962).
  • The Righteous Brothers You've Lost That Lovin' Feelin' (1965; Phillies Records).
  • Joe Houston Rockin' at the Drive-In (1984) (2004; Ace) (2013 Ace).
  • Otis Williams and His Charms Sing Their All Time Hits (1988: King 570).
  • Hawkshaw Hawkins Hawk (1991).
  • Gene and Eunice The Aladdin Records Story (double CD contains "Ko Ko Mo") (1994; EMI Records EMI 308822).
  • Marvin & Johnny Cherry Pie: The Original Modern Recordings (1995) (1998; Ace) (2003; Ace) (2013; Ace).
  • Louis Armstrong The Great Chicago Concert 1956 (1997: Jazz C2K 65119; Columbia 65119; Legacy/Sony 65119).
  • Gene and Eunice Lost Artists Vol. 2: Gene & Eunice--This is My Story (1998; Case 6002).
  • Perry Como The Ultimate Collection (1998: BMG International).
  • Sam Butera & the Witnesses The Wildest Clan/ Apache! (1998; Jasmine)
  • Various Artists Rockin' Is Not Our Business!: 20 Crazy Covers of Rockin' R&B Classics 1950-58 (1998; Westside) features version by Betty Clooney & Bill Darnel with Sid Bass & His Orchestra.
  • Johnny Otis Johnny Otis Rock 'N Roll Hit Parade (2000; Ace). Features Arthur Lee Maye and Mel Williams.
  • Gene and Eunice Go on Ko Ko Mo! (2001; Ace Records Ace 812).
  • The Bricats Welcome to Bricatannia (2002; Part Records).
  • Various Artists King Hillbilly Bop 'n' Boogie: King/Federal's Roots of Rockabilly 1944-1956 (2002; Ace) includes Jack Cardwell's version.
  • Various Artists Surefire Hits On Central Avenue: The South Central R&B Scene (2003; Ace). Gene & Eunice version (2:43)
  • Louis Armstrong Louis Armstrong Collection (2006: Legacy) features Velma Middleton.
  • Various Artists From Boppin Hillbilly to Red Hot Rockabilly (2006; Proper) features version by Roy Hall.
  • Rosemary and Betty Clooney Sisters (2006: Sepia Records) features version by Betty Clooney and Bill Darnel.
  • Sid Phillips and his band Any Old Iron (2007; Dutton Vocalion).
  • Rod Piazza & The Mighty Flyers Blues Quartet Soul Monster (2009; Delta Groove Productions / Wienerworld).
  • Red Sovine Gonna Shake This Shack Tonight: Juke Joint Johnny (2012; Bear Family Records).
  • The Flamingos The Chess Sessions.
  • The Crests Collector's Gold Series (Trigger).

References

  1. ^ Malcolm Mcfarlane and Ken Crossland, Perry Como: A Biography and Complete Career Record (McFarland, 2009):97.
  2. ^ Larry Birnbaum, Before Elvis: The Prehistory of Rock 'n' Roll (Rowman & Littlefield, 2012):312.
  3. ^ Charlie Gillett, The Sound of the City: The Rise of Rock and Roll, rev. ed. (Pantheon Books, 1984):53.
  4. ^ The Billboard(March 19, 1955):30.
  5. ^ Malcolm Mcfarlane and Ken Crossland, Perry Como: A Biography and Complete Career Record (McFarland, 2009):96-97.
  6. ^ Charlie Gillett, The Sound of the City: The Rise of Rock and Roll, rev. ed. (Pantheon Books, 1984):53.
  7. ^ Jay Warner, American Singing Groups: A History from 1940s to Today (Hal Leonard Corporation, 2006):109.
  8. ^ Nick Talevski, Rock Obituaries- Knocking On Heaven's Door (Omnibus, 2010):368.
  9. ^ Rick Coleman, Blue Monday: Fats Domino and the Lost Dawn of Rock 'n' Roll (De Capo, 2007):125.
  10. ^ Larry Birnbaum, Before Elvis: The Prehistory of Rock 'n' Roll (Rowman & Littlefield, 2012):312.
  11. ^ "Gene & Eunice: This is My Story"
  12. ^ "Gene & Eunice Record Label Shots".
  13. ^ Malcolm Mcfarlane and Ken Crossland, Perry Como: A Biography and Complete Career Record (McFarland, 2009):97.
  14. ^ The Billboard (January 15, 1955):33.
  15. ^ "Gene & Eunice Record Label Shots",
  16. ^ "Gene & Eunice Record Label Shots".
  17. ^ Michael Lydon, Ray Charles: Man and Music, Updated Commemorative Edition (Routledge, 2004):118.
  18. ^ Galen Gart, ed., First Pressings: Rock History as Chronicled in Billboard Magazine (Big Nickel Publications, 1990):6.
  19. ^ "Gene, Eunice's Aladdin Disk", The Billboard (January 29, 1955):22.
  20. ^ Martin Popoff, Goldmine Standard Catalog of American Records 1948-1991 (Krause Publications, 2010):484.
  21. ^ Arnold Shaw, Honkers and Shouters: The Golden Years of Rhythm and Blues (Macmillan, 1978):234.
  22. ^ "Gene & Eunice Record Label Shots".
  23. ^ "Gene, Eunice's Aladdin Disk", The Billboard (January 29, 1955):22.
  24. ^ The Billboard (January 15, 1955):38.
  25. ^ "Gene, Eunice's Aladdin Disk", The Billboard (January 29, 1955):22.
  26. ^ "Gene & Eunice: This is My Story"
  27. ^ "Gene & Eunice: This is My Story"
  28. ^ The Billboard(February 12, 1955):56.
  29. ^ Arnold Shaw,Honkers and Shouters: The Golden Years of Rhythm and Blues (Macmillan, 1978):234.
  30. ^ The Billboard(February 26, 1955):56.
  31. ^ Jay Warner, American Singing Groups: A History from 1940s to Today (Hal Leonard Corporation, 2006):109.
  32. ^ "Gene & Eunice: This is My Story"
  33. ^ Russell Sanjek, American Popular Music and Its Business: The First Four Hundred Years Volume III: From 1900 to 1984 (Oxford University Press, 1988):340.
  34. ^ Arnold Shaw, Honkers and Shouters: The Golden Years of Rhythm and Blues (Macmillan, 1978):234.
  35. ^ Ko-Ko-Mo ( I Love You So "Ko Ko Mo (I Love You So)")
  36. ^ The Billboard (January 15, 1955):1, 33.
  37. ^ Jay Warner, American Singing Groups: A History from 1940s to Today (Hal Leonard Corporation, 2006):132-133.
  38. ^ The Billboard (February 12, 1955):23.
  39. ^ Ian Whitcomb, After the Ball: Pop Music from Rag to Rock (Penguin Books, 1974):221.
  40. ^ Henry T. Sampson, Swingin' on the Ether Waves: A Chronological History of African Americans in Radio and Television Programming, 1925-1955, Vol. 2 (Scarecrow Press, 2005):1144.
  41. ^ Charlie Gillett, The Sound of the City: The Rise of Rock and Roll, rev. ed. (Pantheon Books, 1984):53.
  42. ^ Kenneth J. Bindas, America's Musical Pulse: Popular Music in Twentieth-century Society (Greenwood Press, 1992):272.
  43. ^ "Ko Ko Mo (I Love You So)".
  44. ^ Malcolm Mcfarlane and Ken Crossland, Perry Como: A Biography and Complete Career Record (McFarland, 2009):97.
  45. ^ Nat Shapiro and Bruce Pollock, Popular Music, 1920-1979: a Revised Cumulation, Vol. 1, 2nd ed. (Gale Research, 1985):49.
  46. ^ "Ko Ko Mo Belongs to Como", The Billboard (January 15, 1955):44-45.
  47. ^ Michael T. Bertrand, Race, rock, and Elvis (University of Illinois Press, 2000):76.
  48. ^ Nick Tosches, Unsung Heroes of Rock 'n' Roll: The Birth of Rock 'n' Roll in the Wild Years Before Elvis, rev. ed. (Harmony Books, 1991):9.
  49. ^ George Plasketes, Play it Again: Cover Songs in Popular Music (Ashgate Publishing, Ltd., 2010):66.
  50. ^ The Billboard(March 19, 1955):34.
  51. ^ The Billboard (December 31, 1955):29.
  52. ^ The Billboard (January 7, 1956):20.
  53. ^ Malcolm Mcfarlane and Ken Crossland, Perry Como: A Biography and Complete Career Record (McFarland, 2009):196, 198.
  54. ^ Malcolm Mcfarlane and Ken Crossland, Perry Como: A Biography and Complete Career Record (McFarland, 2009):198.
  55. ^ Malcolm Mcfarlane and Ken Crossland, Perry Como: A Biography and Complete Career Record (McFarland, 2009):97.
  56. ^ Albin Zak, I Don't Sound Like Nobody: Remaking Music in 1950s America(University of Michigan Press, 2010):138.
  57. ^ George Plasketes, Play it Again: Cover Songs in Popular Music (Ashgate Publishing, Ltd., 2010):66.
  58. ^ Whitburn, Joel (1973). Top Pop Records 1940-1955. Record Research.
  59. ^ E.g. Reebee Garofalo, Rockin' Out: Popular Music in the USA, 4th ed. (Pearson Prentice Hall, 2008):139.
  60. ^ Michael Coyle, "Hijacked Hits and Antic Authenticity", in Roger Beebe, Denise Fulbrook, and Ben Saunders, eds. Rock Over the Edge: Transformations in Popular Music Culture (Duke University Press, 2002):154.
  61. ^ Rudi Maugeri, in Mark Kearney and Randy Ray, The Great Canadian Trivia Book Two (Dundurn, 1998):166.
  62. ^ Marv Goldberg,"The Flamingos: Based on interviews with Johnny Carter and Terry Johnson (2009).
  63. ^ Jay Warner, American Singing Groups: A History from 1940s to Today (Hal Leonard Corporation, 2006):195.
  64. ^ Robert Pruter,Doowop: the Chicago Scene (University of Illinois Press, 1996):51.
  65. ^ Arnold Shaw,Honkers and Shouters: The Golden Years of Rhythm and Blues(Macmillan, 1978):312, 434.
  66. ^ Robert Pruter, Doowop: The Chicago Scene (University of Illinois Press, 1996):51.
  67. ^ The Billboard(February 12, 1955):32.
  68. ^ The Billboard(February 12, 1955):46.
  69. ^ Michel Ruppli, ed., The Decca Labels: A Discography. Vol. 1: The California Sessions (Greenwood Press, 1996):539.
  70. ^ The Billboard(February 12, 1955):48.
  71. ^ The Billboard(February 12, 1955):32.
  72. ^ Jon Hartley Fox, King of the Queen City: The Story of King Records (University of Illinois Press, 2009):104.
  73. ^ Jay Warner, American Singing Groups: A History from 1940s to Today (Hal Leonard Corporation, 2006):109, 110.
  74. ^ Marv Goldberg, ["Otis Williams & The Charms: Based on Interviews with Otis Williams" (2003; 2009).
  75. ^ Colin Larkin, ed., The Encyclopedia of Popular Music, 4th ed. (Oxford University, 2000):306.
  76. ^ Marv Goldberg, ["Otis Williams & The Charms: Based on Interviews with Otis Williams" (2003; 2009).
  77. ^ The Billboard (February 26, 1955):52.
  78. ^ The Billboard (March 19,1955):30.
  79. ^ The Billboard(February 26, 1955):58.
  80. ^ The Billboard(March 19, 1955):48.
  81. ^ The Billboard (March 19,1955):30.
  82. ^ The Billboard (August 24, 1959):48.
  83. ^ George Plasketes, Play it Again: Cover Songs in Popular Music (Ashgate Publishing, Ltd., 2010):47.
  84. ^ Martin Popoff, Goldmine Standard Catalog of American Records 1948-1991 (Krause Publications, 2010):437.
  85. ^ Jay Warner, American Singing Groups: A History from 1940s to Today (Hal Leonard Corporation, 2006):132-133.
  86. ^ Jay Warner, American Singing Groups: A History from 1940s to Today (Hal Leonard Corporation, 2006):109, 110.
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