From The Pen Of Joshua Lawrence Breslin- When Girls Doo-Wopped In The Be-Bop 1960s Night, Take Two

 


I have, of late, been running back over some rock material that formed my coming of age listening music (on that ubiquitous, and very personal, iPod, oops, battery-driven transistor radio that kept those snooping parents out in the dark, clueless, and just fine, agreed), and that of my generation, the generation of ’68. Naturally one had to pay homage to the blues influences from the likes of Muddy Waters, Big Mama Thornton, and Big Joe Turner. And, of course, the rockabilly influences from Elvis, Carl Perkins, Wanda Jackson, and Jerry Lee Lewis on. Additionally, I have spent some time on the male side of the doo wop be-bop Saturday night led by Frankie Lymon and the Teenagers on Why Do Fools Fall In Love? (good question, right). I note that I have not done much with the female side of the doo wop night, the great ‘girl groups’ that had their heyday in the late 1950s and early 1960s before the British invasion, among other things, changed our tastes in popular music. I make some amends for that omission here.

One problem with the girl groups for a guy, me, a serious rock guy, me, is that the lyrics for many of the girl group songs, frankly, did not “speak to me.” After all how much empathy could a young ragamuffin of boy brought up on the wrong side of the tracks like this writer have for a girl who breaks a guy's heart after leading him on, yes, leading him on, just because her big bruiser of a boyfriend is coming back and she needs some excuse to brush the heartbroken lad off in the Angels' My Boyfriend’s Back. Or some lucky guy, some lucky Sunday guy, who breathlessly catches the eye of the singer in the Shirelles' Met Him On Sunday from a guy who, dateless Saturday night, was hunched over some misbegotten book, some study book, on Sunday feeling all dejected. And how about this, some two, or maybe, three-timing gal who berated her ever-loving boyfriend because she needs a good talking to, or worst, a politically incorrect "beating" in Joanie Sommers’ Johnny Get Angry.

So you get the idea, this stuff could not “speak to me.” Now you understand, right? Except, surprise, surprise foolish, behind the eight- ball, know-nothing youthful guy had it all wrong and should have been listening, and listening like crazy, to these lyrics because, brothers and sisters, they held the key to what was what about what was on girls’ minds back in the day, and maybe now a little too, and if I could have decoded this I would have had, well, the beginning of knowledge, girl knowledge. Damn. But that is one of the virtues, and maybe the only virtue of age. Yah, and also get this- you had better get your do-lang, do-lang, your shoop, shoop, and your best be-bop, be-bop into that good night voice out and sing along to the lyrics here. This, fellow baby-boomers, was our teen angst, teen alienation, teen love youth and now this stuff sounds great.