Post by gremashlo on Sept 13, 2009 15:03:01 GMT -5
Bobby Day had a numerous amount of “moments in the sun” for a one-hit wonder.
First, he wasn’t “Bobby Day”—he was Robert “Bobby” Byrd, which would have been far more fitting on the “Rock-in Robin” release (but since a key member of James Brown’s Famous Flames got first dibs on the name’s familiarity, “Day “ he became). Day was an original Hollywood Flame before eventually spinning off to a solo career with his backup band, the Satellites. With the Satellites, he recorded three rock and roll classics—of which only one is remembered for his rendition, and it was the only one he did not write!
Day released “Rock-In Robin” (as it is called on the first release—rock grammar lords would change it to “Rockin’ Robin” as the years would pass) for Class Records in 1958, and it promptly sold by the truckload on its way to being an iconic musical moment. But, as often happened with huge hits from small labels, follow-ups tanked by comparison, and Day would soon fade from view, though he toured and recorded almost to his death. But, “Rock-In Robin” made him immortal, though his songwriting career also proved to be surprisingly strong, as he also wrote and recorded the original “Little Bitty Pretty One”, later covered by Thurman Harris.
While Day recorded Leon Rene’s “Rock-in Robin”, he wrote the flip side for the single. And while everyone else played the “A” side, some savvy Brits played the “B” side, a clever little tune about a guy hitting on a girl at a dance, only to be rebuffed again and again, or, as Day wrote, “Over and Over”. Those Brits were The Dave Clark 5, and their version of the song (minus its final couplet of determination to get the girl, and removing the word “stag” from the first line, and featuring the ever present snare drum of Clark) went to #1 everywhere but in England, where they knew Day’s recording and didn’t buy their cover version (a common occurrence with the Five, as they were far more famous in the States for churning out old R and B tunes American kids had forgotten).
Day’s “Over and Over” has a more spirited rhythm, with Day crooning the lyrics (especially compared to the Five’s sledgehammer approach to the melody and lyrics), and Day’s Satellites play a far smoother backing—but it is Day’s record all the way. The Dave Clark Five’s version is an unsubtle, blunt-force trauma version meant to keep the kids on the dance floor, which it did well—but, it is hard to accept that this was their biggest hit in the USA. Almost has hard to accept that Day was a “one-hit wonder” with three hits to his (extended) credit.
First, he wasn’t “Bobby Day”—he was Robert “Bobby” Byrd, which would have been far more fitting on the “Rock-in Robin” release (but since a key member of James Brown’s Famous Flames got first dibs on the name’s familiarity, “Day “ he became). Day was an original Hollywood Flame before eventually spinning off to a solo career with his backup band, the Satellites. With the Satellites, he recorded three rock and roll classics—of which only one is remembered for his rendition, and it was the only one he did not write!
Day released “Rock-In Robin” (as it is called on the first release—rock grammar lords would change it to “Rockin’ Robin” as the years would pass) for Class Records in 1958, and it promptly sold by the truckload on its way to being an iconic musical moment. But, as often happened with huge hits from small labels, follow-ups tanked by comparison, and Day would soon fade from view, though he toured and recorded almost to his death. But, “Rock-In Robin” made him immortal, though his songwriting career also proved to be surprisingly strong, as he also wrote and recorded the original “Little Bitty Pretty One”, later covered by Thurman Harris.
While Day recorded Leon Rene’s “Rock-in Robin”, he wrote the flip side for the single. And while everyone else played the “A” side, some savvy Brits played the “B” side, a clever little tune about a guy hitting on a girl at a dance, only to be rebuffed again and again, or, as Day wrote, “Over and Over”. Those Brits were The Dave Clark 5, and their version of the song (minus its final couplet of determination to get the girl, and removing the word “stag” from the first line, and featuring the ever present snare drum of Clark) went to #1 everywhere but in England, where they knew Day’s recording and didn’t buy their cover version (a common occurrence with the Five, as they were far more famous in the States for churning out old R and B tunes American kids had forgotten).
Day’s “Over and Over” has a more spirited rhythm, with Day crooning the lyrics (especially compared to the Five’s sledgehammer approach to the melody and lyrics), and Day’s Satellites play a far smoother backing—but it is Day’s record all the way. The Dave Clark Five’s version is an unsubtle, blunt-force trauma version meant to keep the kids on the dance floor, which it did well—but, it is hard to accept that this was their biggest hit in the USA. Almost has hard to accept that Day was a “one-hit wonder” with three hits to his (extended) credit.
) that this was the same song that the DC5 covered.
