Bobby Troup was born in Harrisburg, Pennsylvania. He graduated from The Hill School, a preparatory school in Pottstown, Pennsylvania, in 1937. He went on to graduate Phi Beta Kappa from the Wharton School at the University of Pennsylvania with a degree in economics. He was a member of the Sigma Alpha Epsilon (ΣΑΕ) fraternity and the Mask and Wig Club.
His earliest musical success came with the song "Daddy" which was a regional hit in 1941. Sammy Kaye and His Orchestra recorded "Daddy", which was number one for 8 weeks on the Billboard Best Seller chart and the number five record of 1941. Glenn Miller and His Orchestra performed "Daddy" on their radio broadcasts, and The Andrews Sisters also recorded the song. In the same year, Troup's song "Snootie Little Cutie" was recorded by Frank Sinatra and Connie Haines with the Tommy Dorsey Orchestra and the Pied Pipers.
Upon graduating from college in 1941 he enlisted in the US Marines, but did not receive orders until January 1942. After completing officer training, he was assigned as one of two dozen white officers to direct recruit training at Montford Point, recruit depot for the first African-American Marines. By spring of 1943 he became recreation officer, in which capacity he was able to spearhead improvements to the facilities at Montford, including building a recreation hall, basketball court, and outdoor boxing ring. He was even able to get a friend to install a miniature golf course. During this time he composed the song "Take Me Away From Jacksonville" which was to become an anthem of sorts for the Marines at Montford Point, even extending to other areas of Camp Lejeune. By numerous accounts Troup was the most popular officer among the Montford recruits. In October 1944 he was promoted to Captain, given command of a depot company, and eventually deployed to Saipan where he served to the end of the war.
Bobby Troup's first marriage was to Cynthia Hare. They were married in May 1942 and had two daughters, Cynnie Troup (b. 1943) and Ronne Troup (b. 1945), both of whom had careers in the entertainment industry.
In 1946, Nat King Cole had a hit with Troup's best known song "(Get Your Kicks On) Route 66". It became a popular standard recorded by many artists, including Chuck Berry (1961) and The Rolling Stones (1964). In 1987, Depeche Mode combined the tune with their own composition, "Behind the Wheel", released it as the B-side of "Behind the Wheel" and it became a radio hit on KROQ 106.7 FM in Los Angeles. In 2006, "Route 66" was featured in the animated movie Cars, and the movie RV with Robin Williams.
Troup met his second wife, torch singer Julie London, at the Celebrity Room, where he was singing. It was Troup who encouraged London to pursue her singing career, and in 1955 he produced her million selling hit record "Cry Me a River". London, previously married to actor Jack Webb (1947 to 1953), married Troup in 1959. They remained married until Troup's death in 1999.
Troup's own recordings in the 1950s and 1960s were not commercially successful. He made recordings for Liberty Records and Capitol Records, many with musicians from the West Coast jazz scene.
Troup also wrote the title song (sung by Little Richard) in the classic 1950s rock and roll movie The Girl Can't Help It. An instrumental rendition of his song "The Meaning of the Blues" appeared on the landmark Miles Davis album, Miles Ahead. Troup's hipster interpretation of the fairy tale "The Three Bears" is often erroneously credited to "anonymous" and re-titled "Three Bears Rap", "Three Bears with a Beat", etc. This song was first recorded by the Page Cavanaugh Trio and later by Western Swing bandleader Leon McAuliffe.
Circa 1969 Troup collaborated with entertainer Tommy Leonetti, penning the lyrics for Leonetti's song "My City of Sydney". Leonetti's original recording was used for many years in the close-down sequence for TV station ATN-7 in Sydney, and was also covered by Sydney punk band XL Capris.
In February 1999, Troup died at UCLA Medical Center of a massive heart attack; he was buried at Forest Lawn Memorial Park in the Hollywood Hills. His wife, Julie London died the following year, and her cremated remains were placed in the columbarium (Columbarium of Providence) niche, next to his.
In the mid-1950s, Troup was one of three regular panelists (along with Mel Blanc and Johnny Mercer) in the game show Musical Chairs, a Bill Leyden-hosted quiz program that aired locally on Los Angeles television for two years before NBC broadcast it in the summer of 1955. On the program, the viewing audience was encouraged to submit questions about music in an effort to stump the panel. The Troup Group provided much of the music in the game show. He also served as host of the ABC show Stars of Jazz featuring various jazz luminaries, particularly those working in Hollywood.
While he relied on songwriting royalties, Troup also worked as an actor, playing musician Tommy Dorsey in the film The Gene Krupa Story (1959). He played himself in the short-lived NBC television series Acapulco. Troup made three guest appearances on Perry Mason, and on two appearances, "The Case of the Jaded Joker" in 1959 and "The Case of the Missing Melody" in 1961, he showed his musical talents. In 1969 and 1970, he appeared as "Bobby" in two episodes of Mannix, where he was a lounge piano player who helped Mannix unravel cases. He again appeared as a piano player in a cameo on The Hardy Boys/Nancy Drew Mysteries in 1978.
In Robert Altman's 1970 film M*A*S*H he had a memorable cameo as a disgruntled staff sergeant assigned to driving Hawkeye and Trapper John around in Japan. (His only line of dialogue is a repeated exasperation, "Goddamn army!") In 1972, Jack Webb, who had previously used Troup in a 1967 episode of the television series Dragnet, cast him opposite Julie London in the US TV series Emergency!. Emergency! was created by Webb, who had recently starred in a revival of Dragnet and was producing NBC's popular Adam-12. London and Troup had remained on cordial terms with Webb, who had used Troup (and his daughter Ronne) in episodes of Adam-12 as well as the revived Dragnet. On Emergency! Troup played Dr. Joe Early, one of the two emergency room doctors featured on the series, while London played head nurse Dixie McCall.
The Boy Next Door
Bobby Troup Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I knew he was just my style
My only regret is we've never met
Though I dream of him all the while
But he doesn't know I exist
No matter how I may persist
So it's clear to see there's no hope for me
And he lives at fifty-one-thirty-three
How can I ignore the boy next door
I love him more than I can say
Doesn't try to please me
Doesn't even tease me
And he never sees me glance his way
And though I'm heart-sore, the boy next door
Affection for me won't display
I just adore him
So I can't ignore him
The boy next door
I just adore him
So I can't ignore him
The boy next door
Bobby Troup's song The Boy Next Door is a poignant song about unrequited love. The singer of the song has discovered the boy next door and has fallen in love with him. She describes how she knows he is just her type, but laments that they have never met. She goes on to explain that she persists in trying to get him to notice her, although he doesn't seem to know she exists. The singer then acknowledges that there is no hope for her, and yet she can't help but adore him.
The song speaks to the universal experience of longing for someone who doesn't feel the same way about us. It's a story that people of all ages can relate to, and Bobby Troup's lyrics capture the emotions and thoughts that go through our heads when we find ourselves in this situation. The song is beautifully sung, and the melody is simple and sweet, making it all the more effective in communicating the message.
Overall, The Boy Next Door is a timeless classic that continues to resonate with audiences today. It's a reminder that even when love is unrequited, it can still hold a special place in our hearts and bring us joy.
Line by Line Meaning
The moment I saw him smile
From the instant I observed his facial expression indicating satisfaction, I knew he matched my preferred type.
I knew he was just my style
I realized that he perfectly fits my taste and preference.
My only regret is we've never met
The only remorse I have is that we haven’t encountered each other.
Though I dream of him all the while
Despite dreaming of him continuously, I haven't yet met him.
But he doesn't know I exist
He is not aware of my presence or existence.
No matter how I may persist
Despite making constant efforts, he remains ignorant of my existence.
So it's clear to see there's no hope for me
It's evident that there is no hope for me to be noticed or loved by him.
Though I live at fifty-one-thirty-five Kensington Avenue
Even though I live just across the street at 5135 Kensington Avenue.
And he lives at fifty-one-thirty-three
He resides at 5133, very close to my house.
How can I ignore the boy next door
How can I fail to notice the boy living right next to me?
I love him more than I can say
I love him deeply, more than the words can express.
Doesn't try to please me
He doesn't attempt to impress or satisfy me.
Doesn't even tease me
He doesn't even attempt to provoke or playfully challenge me.
And he never sees me glance his way
He never catches me when I look at him.
And though I'm heart-sore, the boy next door
Even though I'm filled with intense heartache, I still have feelings for the boy next door.
Affection for me won't display
He doesn't express any romantic feelings towards me.
I just adore him
I simply love him.
So I can't ignore him
I can't stop thinking about or trying to see him.
The boy next door
The boy living next door to me.
I just adore him
I simply love him.
So I can't ignore him
I can't stop loving or admiring him.
The boy next door
The boy living close to my house.
Lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: Hugh Martin, Ralph Blane
Lyrics Licensed & Provided by LyricFind