"Ko Ko Mo (I Love You So)" is apopular rocknovelty song written in late 1954 by therhythm and blues partnership of Forest Gene Wilson and Eunice Levy,[1] and also credited toJake Porter. One of the earliestrock and roll songs,[2] it was probably "the most extensively recorded rock 'n' roll song of that time".[3]
The song spent 15 weeks in theBillboard charts from January to May 1955, and peaked at #3 in its Honor Roll of Hits in the week ending March 2, 1955.[4] The version byPerry Como, RCA's first rock 'n' roll release,[5] was the most successful,[3] reaching #2 on the Billboard charts in February 1955, while a version byThe Crew-Cuts reached #6 on the Pop charts that same month.[6] Gene and Eunice's two versions were on the charts for 7 weeks and reached #6 on theBillboard R&B charts.[7]
Forrest Samuel Wilson Jr. (born September 3, 1931, inSan Antonio, Texas; died on July 24, 2003, inLas Vegas, Nevada) (known professionally as Gene Forrest) and Eunice Hazel Russ (known professionally as Eunice Levy) (born March 12, 1931, inTexarkana, Texas; died May 26, 2002),[8][9] who were romantically involved with one another (and later married) and known as "The Sweethearts of Rhythm & Blues",[10] wrote the song together by the Spring of 1954.[11] Classified as arhythm and blues song, it featuredDave Bartholomew's much-used (or even over-used)[12]tresillo three-beat Caribbean or Latinriff,[13] and ahabanerabassline.[2]
Performing under the name Gene and Eunice, in the Fall of 1954 Forrest and Levy made the first recording of the song,[11] backed by Jonesy's Combo (which included saxophonist Brother William Woodman's band),[14][15] in the studio in the basement of veteran musicianJake Porter's home, and released in November 1954 on his Combo label (Combo 64) as their first single.[1][16] Late in 1954The Billboard magazine reported: "Uptowners also digging the stellar treatment issued by newcomers Gene and Eunice and their Combo 'Ko-Ko-Mo' slicing".[17]
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.[15] The song was copyrighted to Wilson, Porter, and Levy and the Meridian Music Corporation on January 10, 1955,[18] and reviewed positively inThe Billboard magazine on January 15, 1955.[19] Played by influential pioneer rock and roll disc jockeyAlan Freed on his program on1010 WINS from New York City,[20][21] this version of the song "hit it big in New York and Chicago very quickly",[22] as well as inCincinnati,Cleveland,Atlanta, andLos Angeles by mid-January 1955.[23]
However, in January 1955,Aladdin Records, which had Wilson on contract as a solo artist, claimed ownership of the team of Gene & Eunice, and had them record another version of the song[24] withJohnny Otis's band (billed as Johnny's Combo—perhaps as a slap at Combo Records) (Aladdin 3276).[25][26] While the songwriting was credited to Wilson, Porter and Levy,[15] Aladdin also claimed the publishing rights,[24] which Porter had only a few weeks earlier sold to the E.H. Morris Publishing Company for an advance of $5,000,[24][27] with the result that Forrest and Levy received very little of thesongwriting royalties due them.[14] Aladdin released the re-cut version on January 17, 1955.[28] Aladdin, a much larger independent label than Combo, ran an ad inBillboard announcing: "Don't Be Fooled! This Is The Gene & Eunice Ko Ko Mo."[14] Combo Records responded on January 22, 1955, proclaiming: "This is it! The original Ko Ko Mo".[29]
The Combo and Aladdin singles, counted as one unit byBillboard's compilers,[14] entered the Billboard R&B charts in the week ending January 26, 1955,[30] and spent 7 weeks in the charts,[31] before it reached #7 in the week ending February 16, 1955,[32] before peaking at #6 on the R&B charts.[6][14]
However, pioneer rock and rolldisc jockeyAlan 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,[50] as he believed that they were imitative of the originals and that his audience quickly detected their lack of authenticity.[51] Other disc jockeys refused to play any R&B songs, including Marc Jennings, of WCMI inHuntington, West Virginia, who indicated in May 1955:
"Tunes like 'Kiss the Baby', 'Hearts of Stone', 'Ko Ko Mo' and 'Tweedle Dee' are products of the mass hysteria prevalent in our world today."[52]
The most popular and commercially successful version ofKo Ko Mo (I Love You So) was that ofPerry Como,[3] "the quintessential white pop crooner of the 1950s",[53] who recorded his version atWebster Hall, New York on January 4, 1955,[34] as the first rock 'n' roll release on the RCA Victor label.[1] Shapiro and Pollock viewed 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".[54]
Como's version was reviewed positively inThe Billboard magazine in its January 15, 1955, issue,[55] and the label promoted it extensively in a two-page advertising spread in the same issue,[56][57] headlined as "DIG PERRY IN ACTION ON A GREAT 'ROCK-AND-ROLL' RECORD".[58] Como also performed the song on his television program "The Perry Como Chesterfield Show" in mid-January,[59] and again on February 18, 1955.
Entering theBillboard charts on February 5, 1955, eventually the song spent 14 weeks in the charts.[60] Como's version peaked 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.[61] However, on March 2, 1955,Julius La Rosa sang the song withJoni James on Como'sPerry Como Chesterfield Show on CBS due to Como's vacation. Como also performed the song on his NBC television programThe Perry Como Show on October 29, 1955.[62] At the end of 1955, Como's version was ranked byBillboard Magazine as #22 on its Disc Jockey charts and #25 of the year's Top Tunes based on record sales.[63][64]
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.[1] Albin Zak described Como's version as a "bizarre transformation emphasizing the novelty element to the point ofSpike Jonesishparody."[66]
Canadian vocal quartetThe Crew-Cuts' version ofKo Ko Mo was released byMercury Records as catalog number 70529. After their version was reviewed positively inThe Billboard magazine on January 15, 1955,[55] it entered theBillboard magazine charts on January 29, 1955, eventually spending 14 weeks in the there.[60] On the Disk Jockey chart, it peaked at #11; on the Best Seller chart, at #10; on the Juke Box chart, at #6.[67] 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 recordingcover versions of songs written by black musicians,[68][69] 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."[70]
In an attempt to capitalize on what he felt would be a hit record after hearing Gene and Eunice's Combo Records version in California in November 1954,[71] Chicago blues labelParrot Records ownerAl Benson encouragedThe Flamingos to record an up tempo version of the song on his label (Parrot 812).[72][73][74][75] Released in late January 1955, the single features Nate Nelson andJohnny Carterin unison on lead.[76] While it was played on the radio in various parts of the United States, it was never able to steal the thunder from the Gene and Eunice version.[77] This lack of commercial success precipitated their move toChess Records'Checkers subsidiary later in 1955.[77]
In January 1959Checker Records re-released The Flamingo's Parrot Records version as a single, and included it on their self-titled album the following month.[72] In 1961 The Flamingos re-released a version of the song onEnd Records (End 1085).[78][79]
On January 11, 1955,[43]The Charms recorded their version of the song on theDe Luxe label (De Luxe 6080).[44][45][46] Seen as a cover of The Flamingo's cover,[72] their "attempt to hijack Gene And Eunice's 'Ko Ko Mo' in February 1955 failed, and saw the group return to writing originals."[80] Alan Freed's refusal to play cover records at the time (really directed at White pop covers); nonetheless had the effect of shutting out The Charms.[81] Despite reaching #7 in the New Orleans R&B charts by mid-February,[82] their version was withdrawn from sale by the end of February 1955.[43]
By the end of February 1955, there was also amambo version ofKo Ko Mo (I Love You So) byTito Rodríguez(Victor 47-5998);[83] Additionally,Andy Griffith (Capitol 3057) had satirized the song in which he described the love affair of a lady wrestler and a referee.[84] Griffith's version was still in the top 10 of the Capitol Records on the Pop charts on April 30, 1955.[85]
By March 19, 1955, at least another two versions were released:[49] including those byMarvin & Johnny (Modern 949); andBarry Frank (with the Four Bells) (Bell Records).
On April 18, 1955,Life magazine, in discussing the emergence of rock 'n roll music and the ensuing controversy, mentionedKo Ko Mo in the article as representative of the new songs that were dominating thejuke boxes.[86] On April 24, 1955Mitch Miller defended "Ko Ko Mo (I Love You So)" in an article inThe New York Times entitled "June, Moon and Swoon and Ko Ko Mo".[87]
In 1957 professional baseball playerArthur Lee Maye &Mel Williams recorded the song on Johnny Otis' Dig Records,[90] however it was not released until 2000, when it was included onJohnny Otis Rock 'N Roll Hit Parade (ACE CDCHD 774). In August 1959Joe Houston released "a rocking arrangement" of the song that featured horns (Combo 157),[91] and a "deliriously fractureddoo-wop harmony over a lopingrhumba pattern".[92]
In 1960Sam Butera & The Witnesses released their version of the song onDot Records.[93] By September 1961 The Four Amigos (Jose Vadis, Miguel Alcaildes, German Salinas, and Pedro Berrios),[94][95] "a lively Puerto Rican cross betweenThe Four Preps andKingston Trio",[96] released a Spanish-language version of the song on Capitol Records [Capitol ST 1617].[96]
In January 1965The Righteous Brothers included the song on theirPhil Spector produced fourth albumYou've Lost That Lovin' Feelin' (Philles Records PHLP-4007, LP-4007), and subsequently performed the song on the NBC television programShindig! on March 10, 1965,[97] and again on September 18, 1965.[98] Also in 1965 New Jersey quartet The Valtairs (Harry Ray, Joe Gardner, Kenneth Short, and Gregory Henson) released the song as the flip side of "Moonlight in Vermont" on the Selsom Records label, but it failed to chart.[99]
Various ArtistsJohnny Otis Rock 'N Roll Hit Parade (1957;Dig Records unreleased) (2000; Ace CDCHD 774). FeaturesArthur Lee Maye andMel Williams version.
Louis Armstrong16 Original World Hits (Germany: 1989;MCA Records 8.62000 LZ).
Various ArtistsThe Rock 'N' Roll Era: Roots of Rock 1945-1956 (1989:Time-Life Music SRNR-30/2RNR-30 Warner Special Products OP-2570OPCD-2570) Gene and Eunice (Aladdin version).
Louis ArmstrongThe Great Chicago Concert 1956 (1997: Jazz C2K 65119; Columbia 65119; Legacy/Sony 65119).
Marvin & JohnnyCherry Pie: The Original Modern Recordings (1995) (1998; Ace) (2003; Ace) (2013; Ace).
Charlie GracieLive At The Stockton Globe: August 26th 1957 (UK: 1996; Schoolkids 1547).
Gene and EuniceLost Artists Vol. 2: Gene & Eunice--This is My Story (1998; Case 6002).
Perry ComoThe Ultimate Collection (1998: BMG International).
Sam Butera & the WitnessesLouis Prima Presents: The Wildest Clan/ Apache! (UK: November, 1998; Jasmine 346).
Various ArtistsRockin' 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.
Gene and EuniceGo on Ko Ko Mo! (2001;Ace Records Ace 812) (Bear Family Records CDCHD812).
The BricatsWelcome to Bricatannia (Germany: September 2002; Part Records 628.003).
Various ArtistsKing Hillbilly Bop 'n' Boogie: King/Federal's Roots of Rockabilly 1944-1956 (2002; Ace CDCHD854). Includes Jack Cardwell's version.
Various ArtistsSurefire Hits On Central Avenue: The South Central R&B Scene (2003; Ace). Gene & Eunice version (2:43)
Louis ArmstrongLouis Armstrong Collection (2006: Legacy) featuresVelma Middleton.
Various ArtistsFrom Boppin Hillbilly to Red Hot Rockabilly (2006; Proper Records Properbox103) features version by Hawkshaw Hawkins.
Rosemary and Betty ClooneySisters (2006: Sepia Records) features version by Betty Clooney and Bill Darnel.
Various ArtistsThey Sold A Million: Fifties (June 19, 2006: Alphadisc). Perry Como version.
Sid Phillips and his bandAny Old Iron (2007; Dutton Vocalion).
Various Artists50 Hot Rhythm & Blues Tunes from The R&B Years 1955: Volume One (UK: 2007; Boulevard Vintage BVDCD1012). Gene and Eunice version.
Various ArtistsGonna Shake This Shack Tonight! (Germany: 2007; Bear Family BCD16864). Hawkshaw Hawkins version.
Various ArtistsBritish Rock 'n' Roll, Skiffle and Early 60s U.K. Teeners: Embassy Label Rock 'n' Roll Volume 1. Features version by the Rock "N' Rollers.
Various ArtistsRock & Roll Hits Vol. 2: Chick's Are Jivin' (Bear Family Records CDTLR002). Hutton Sisters version.
^Malcolm Mcfarlane and Ken Crossland,Perry Como: A Biography and Complete Career Record (McFarland, 2009):96-97.
^abJay Warner,American Singing Groups: A History from 1940 to Today (Hal Leonard Corporation, 2006):109.
^Whitburn, Joel (2004).Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p. 227.
^Texas Birth Index, 1903-1997. Texas: Texas Department of State Health Services. Microfiche.
^Russ had married a building contractor named Harold Levy. After her marriage to English record distributor Jack Frost, she was known as Eunice Levy Frost. See [www.geocities.ws/shakin_stacks/eunicelevy.txt] (March 9, 2003).
^Nick Talevski,Rock Obituaries- Knocking On Heaven's Door (Omnibus, 2010):368.
^Russell Sanjek,American Popular Music and Its Business: The First Four Hundred Years Volume III:From 1900 to 1984 (Oxford University Press, 1988):340.
^Ian Whitcomb,After the Ball: Pop Music from Rag to Rock (Penguin Books, 1974):221.
^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.
^Malcolm Mcfarlane and Ken Crossland,Perry Como: A Biography and Complete Career Record (McFarland, 2009):198.
^Albin Zak,I Don't Sound Like Nobody: Remaking Music in 1950s America(University of Michigan Press, 2010):138.
^Whitburn, Joel (1973).Top Pop Records 1940–1955. Record Research.
^E.g. Reebee Garofalo,Rockin' Out: Popular Music in the USA, 4th ed. (Pearson Prentice Hall, 2008):139.
^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.
^Rudi Maugeri, in Mark Kearney and Randy Ray,The Great Canadian Trivia Book Two (Dundurn, 1998):166.
