The band had eight years of regular chart hits, in both the United States, where their music was played on top-40, easy listening, and country music outlets, and throughout the English-speaking world including the UK, Canada and South Africa. Their music spanned several genres, mostly novelty songs and acoustic ballads in their early years; their greatest success came with their later material, mostly consisting of disco-influenced soft rock, which the band recorded under the shortened name Dr. Hook.
The founding core of the band consisted of three Southerners, George Cummings, Ray Sawyer, (from Alabama) and Billy Francis, who had worked together in a band called The Chocolate Papers. They had played the South, up and down the East Coast, and into the Midwest before breaking up. Cummings, who moved to New Jersey with the plan of forming a new band, brought back Sawyer to rejoin him. They then took on future primary vocalist, New Jersey native Dennis Locorriere, at first as a bass player. Francis, who had returned south after the Chocolate Papers broke up, returned to be the new band's keyboardist.
When told by a club owner that they needed a name to put on a poster in the window of his establishment, Cummings made a sign: "Dr. Hook and the Medicine Show: Tonic for the Soul." The "Hook" name was inspired by Sawyer's eyepatch and a reference to Captain Hook of the Peter Pan fairy tale, although, humorously, because Captain Hook was neither a doctor nor wore an eyepatch. Ray Sawyer had lost his right eye in a near-fatal car crash in Oregon in 1967, and thereafter always wore an eyepatch. The eyepatch would mistakenly lead some people to believe that Sawyer was 'Dr. Hook'. When anyone asked the band which one of them was 'Dr Hook' they always directed everyone to the bus driver.
The band played for a few years in New Jersey, first with drummer Popeye Phillips (who had also been in The Chocolate Papers), who went on to be a session drummer on The Flying Burrito Brothers' first album, The Gilded Palace of Sin. Citing musical differences, Popeye returned home to his native Alabama, and was replaced by local drummer Joseph Olivier. When the band began recording their first album, Olivier left in order to spend more time with his family, and was replaced by session player, John "Jay" David, who was asked to join the band full-time in 1968.
In 1970, their demo tapes were heard by Ron Haffkine, musical director on the planned Herb Gardner movie, Who Is Harry Kellerman and Why Is He Saying Those Terrible Things About Me? The songs for the film were written by the cartoonist and poet/songwriter Shel Silverstein. Haffkine determined that Dr. Hook was the ideal group for the soundtrack. With the help of producer Haffkine, the group recorded two songs for the film: Locorriere sang the lead on both "The Last Morning", the movie's theme song, later re-recorded for their second album Sloppy Seconds, and "Bunky and Lucille", which the band can be seen performing in the film. The film, released in 1971 by National General Pictures, received mixed critical reviews and did only modestly at the box office, but it helped Dr. Hook and The Medicine Show secure their first recording contract.
Ron Haffkine arranged a meeting with Clive Davis, CBS Records described in Davis's autobiography. Drummer David used a wastepaper basket to keep the beat, and while Sawyer, Locorriere, and Cummings played and sang a few songs, Francis hopped up and danced on the mogul's desk. This meeting secured the band their first record deal. Subsequently, the band went on to international success over the next twelve years, with Haffkine as the group's manager, as well as producer of all the Dr. Hook recordings.
Silverstein and Dr. Hook & the Medicine Show became a great combination. Haffkine, having a knack for picking songs, quickly became Dr. Hook’s #1 A&R man, as well as their producer and manager. Silverstein wrote all the songs for their self-titled debut album, released in 1972. Doctor Hook featured lead vocals, guitar, bass and harmonica by Locorriere, guitarist Cummings, and singer Sawyer, plus drummer David and singer/guitarist/keyboard player Billy Francis. The album sold over one million copies, and was awarded a gold disc by the RIAA on August 2, 1972. It has been released 20 times in the US, UK, Netherlands, Italy, Yugoslavia, Canada, Europe, Spain, and Greece.
The single "Sylvia's Mother", a subtle parody of teen-heartbreak weepers, flopped on first release, but with some more promotional muscle became the band's first million-seller, and hit the top five in the summer of 1972. Other titles on the album included "Marie Lavaux", "Sing Me A Rainbow", "Hey Lady Godiva", "Four Years Older Than Me", "Kiss It Away", "Makin' It Natural", "I Call That True Love", "When She Cries", "Judy", and "Mama, I'll Sing One Song For You".
Silverstein continued to write songs for Dr. Hook, including their entire second album, Sloppy Seconds, now released 16 times in the US, Australia, UK, Netherlands, Europe, and Canada. It featured some of their most popular songs, including "Freakin' at the Freaker's Ball" and "The Cover of Rolling Stone". Other titles on the album were "If I'd Only Come And Gone", "The Things I Didn't Say", "Carry Me Carrie", "Get My Rocks Off", "Last Mornin'", "I Can't Touch The Sun", "Queen Of The Silver Dollar", "Turn On The World", and "Stayin' Song". The album was listed in the Billboard 200 in 1973. In 1972, the band added a full-time bassist, Jance Garfat, and another guitarist, Rik Elswit.
The band's second single, Silverstein’s "The Cover of 'Rolling Stone'" (1972) from Sloppy Seconds, was another million-selling disc, poking fun at the idea that a musician had "made it" if they had been pictured on the cover of Rolling Stone.
Haffkine visited Jann Wenner, one of the founders of Rolling Stone, proclaiming "I’ve just given you guys the best commercial for this rag that you’ll ever get." Wenner then sent Cameron Crowe (who later wrote and directed Jerry Maguire), then 16 years old, to interview the band for issue 131 (March 1973). Dr. Hook and the Medicine Show appeared on the cover, albeit in caricature rather than in a photograph.
In the United Kingdom, the BBC Radio network refused to play "The Cover of 'Rolling Stone'", because it considered doing so would be advertising a trademark name, which was against the BBC's policy (previously, the Kinks had to change "Coca-Cola" to "Cherry Cola" in their song "Lola" to get around the rule). CBS Records responded by setting up a phone line that would play the song to anyone willing to dial in, which helped build the buzz. The BBC only found itself able to play the song after some of its DJs edited themselves shouting the words "Radio Times" (at the time, a BBC-owned magazine) over "Rolling Stone".
In 1973, all was not well for Haffkine and Dr. Hook & The Medicine Show. The group had a difficult time meeting the high expectations created by Sloppy Seconds, and the result was Belly Up! which Huey noted "was unfortunately prophetic". Belly Up! included "Acapulco Goldie", "Penicillin Penny", "Life Ain't Easy", "When Lily Was Queen", "Monterey Jack", "You Ain't Got The Right", "Put A Little Bit On Me", "Ballad Of....", "Roland The Roadie Gertrude The Groupie", "Come On In", and "The Wonderful Soup Stone". The album was sold in the US, UK, Europe, and Canada. Dr. Hook was just as famed for their crazed stage antics, which ranged from surreal banter to impersonating their own opening acts, but it was the group's nonchalance about business matters that led to bankruptcy. "If we were in the black when we finished a tour, we'd party into the red," says Locorriere. They were forced to file bankruptcy in 1974, although they continued to tour incessantly.
The Medicine Show's lineup changed a few more times over the years. When David left the group in 1973, he was replaced by John Wolters. The next to depart was founding band member Cummings, who left in 1975 due to personal and musical differences. The band did not initially replace him. When Elswit was diagnosed with cancer a couple of years later, the band added Bob "Willard" Henke (formerly of Goose Creek Symphony). Elswit recovered and returned to the lineup, but they kept Henke on as well for a while. When Henke left in 1980, they added Rod Smarr.
In 1974 Dr. Hook recorded an album that was to be titled Fried Face; it went unreleased and was never issued by Columbia.
The band shortened its name to Dr. Hook in 1975. They signed with Capitol Records in 1975, releasing the aptly titled album Bankrupt. Unlike previous projects, this album included original material written by the group. The hit from the project was a reworked version of Sam Cooke's "Only Sixteen" (US number 6), revitalizing their career and charted in the top ten in 1976. It was when Haffkine discovered a song called "A Little Bit More", written and originally performed by Bobby Gosh and released on his 1973 album Sitting in the Quiet, on a vinyl record costing 35 cents at a flea market in San Francisco, that things exploded for Dr. Hook. It charted at number 11 on the US Billboard Hot 100 and spent two weeks at number nine on the Cash Box Top 100. It also reached number two on the UK Singles Chart and was Dr. Hook's joint second-best UK chart placing, matching "Sylvia's Mother".
Follow-ups to "A Little Bit More" included "Sharing the Night Together" (number 6), "When You're in Love with a Beautiful Woman" (number 6), "Better Love Next Time", and "Sexy Eyes" (number 5), which featured prominent female backup singers. Save for "A Little Bit More" (number 11), all the singles mentioned above were certified million-sellers. "When You're in Love with a Beautiful Woman" reached number 1 for several weeks in 1979 in the UK and they had another UK hit single with "Better Love Next Time" (number 12). Though the band toured constantly, they never managed to turn their success with singles into album sales.
Pleasure & Pain(1978) was Dr. Hook's first gold album. According to Steve Huey, of All Music Guide, it solidified their reputation as "disco-tinged balladeers". But Sawyer was increasingly upset at the commercial direction the group's sound was taking. The band had changed labels again, to Casablanca Records in 1980, but could not replicate earlier successes. In late 1980, Dr. Hook released "Girls Can Get It" (number 34) and had their final hit (which peaked at number 25) with "Baby Makes Her Blue-Jeans Talk" in 1982.
Ray Sawyer left in 1983 to pursue a solo career, while the band continued to tour successfully for another couple of years, ending with Dr. Hook's One and Only Farewell Tour in 1985, with Locorriere as the sole frontman.
Dennis Locorriere retained ownership of the Dr. Hook name. He released several solo albums and did concert tours under the names Voice of Dr. Hook and Dennis Locorriere Celebrates Dr. Hook Hits and History tour. In 2019 he will start the Dr Hook 50th Anniversary World Tour.
From 1988 to 2015, Sawyer was granted a license to tour separately as "Ray Sawyer of Dr. Hook" or "Dr. Hook featuring Ray Sawyer" (joined for a time in 2001 by Billy Francis); Sawyer did not perform publicly after his last tour ended in October 2015. Sawyer died on 28 December 2018.
Members
Dennis Locorriere - vocals, guitar, bass, harmonica (1968-1985)
Ray Sawyer - vocals, guitar, percussion, congas, maracas (1967-1983, died 2018)
Billy Francis - keyboards (1968-1985; died 2010)
George Cummings - lead and steel guitars, vocals (1968-1975)
John "Jay" David - drums (1968-1973)
Rik Elswit - lead guitar (1972-1985)
Jance Garfat - bass (1972-1985; died 2006)
John Wolters - drums (1973-1982, 1983-1985; died 1997)
Bob 'Willard' Henke - guitar (1976-1980)
Rod Smarr - guitar (1980-1985; died 2012)
Walter Hartman - drums (1982-1983)
Leonard Wolfe - keyboards (early 80s)
Joseph Olivier - drums (1968)
Discography
Studio and live albums
(for the 1975 Bankrupt album the band name was shortened to Dr. Hook)
Year Album Peak chart positions
US US Country CAN UK DEN
1971 Doctor Hook 45 — 38 — 5[6]
1973 Sloppy Seconds 41 — 16 — —
1973 Belly Up! 141 — — — 7[7]
1974 Fried Face (Unreleased) — — — — —
1975 Bankrupt 141 — — — 2[8]
1976 A Little Bit More 62 18 69 5 1[9]
1977 Makin' Love and Music — — — 39 —
1978 Pleasure and Pain 66 17 93 47 —
1979 Sometimes You Win 71 — 59 14 —
1980 Rising 175 — — 44 —
1981 Live in the U.K. (US title: Dr. Hook Live) — — — 90 —
1982 Players in the Dark 118 — — — —
1983 Let Me Drink From Your Well — — — — —
Compilation albums
Year Album Peak chart positions
US AUS CAN UK
1976 Dr. Hook Revisited — — — —
1980 Greatest Hits 142 — 32 2
1984 The Rest of Dr. Hook — — — —
1987 Greatest Hits (And More) — 2 — —
1992 Completely Hooked - The Best of Dr. Hook — — — 3
1995 Dr. Hook and the Medicine Show - Greatest Hits — — — —
1996 Sharing the Night Together - The Best Of Dr. Hook — — — —
1999 Love Songs — — — 8
2007 Hits and History — — — 14
2007 Greatest Hooks — — — —
2014 Timeless — 36 — 9
2016 Collected — — — —
Singles
Year Single Peak chart positions Album
US US Country US AC AUS CAN CAN Country CAN AC IRE NZ SA UK
1971 "Last Morning" — — — — — — — — — — — Who Is Harry Kellerman And Why Is He Saying Those Terrible Things About Me?
1972 "Sylvia's Mother" 5 — — 1 2 — — 1 1 1 2 Dr. Hook
"Carry Me Carrie" 71 — — — 82 — — — — — — Sloppy Seconds
"The Cover of Rolling Stone" 6 — — 32 2 — — — 3 —
1973 "Roland the Roadie and Gertrude the Groupie" 83 — — — 74 — — — — — — Belly Up!
"Life Ain't Easy" 68 — — — — — — — — — —
1974 "Cops And Robbers" — — — — — — — — — — — Singles Only
"The Ballad of Lucy Jordan" — — — — — — — — — —
1975 "The Stimu Dr. Hook" — — — — — — — — — — — Promo Only
"The Millionaire" 95 — — 8 — — — — — — — Bankrupt
"Everybody's Makin' It Big But Me" — — — — — — — — 36 — —
"Only Sixteen" 6 55 14 8 3 — 9 — — — —
1976 "A Little Bit More" 11 — 15 10 4 — 6 2 13 — 2 A Little Bit More
"A Couple More Years" — 51 — — — — — — — — —
"If Not You" 55 26 21 69 56 — 9 3 — — 5
1977 "Walk Right In" 46 92 39 1 77 — 30 — — — — Makin' Love and Music
1978 "More Like the Movies" — — — 93 — — — 4 — — 14 A Little Bit More
"Sharing the Night Together" 6 50 18 10 3 40 4 — 12 — 43 Pleasure and Pain
1979 "All the Time in the World" 54 82 41 — 60 64 12 — — — —
"When You're in Love with a Beautiful Woman" 6 68 5 20 4 22 7 1 2 — 1
"Better Love Next Time" 12 91 3 24 39 — 10 6 7 — 8 Sometimes You Win
1980 "Sexy Eyes" 5 — 6 41 8 — 1 3 1 20 4
"Years From Now" 51 — 17 72 63 — 3 — — — 47
"Girls Can Get It" 34 — — 3 — — — — — 5 40 Rising
1981 "That Didn't Hurt Too Bad" 69 — — — — — — — — — —
"Body Talking" — — — — — — — — 36 — —
"The Wild Colonial Boy"[10] — — — 4 — — — — — — — Single Only [A]
1982 "Baby Makes Her Blue Jeans Talk" 25 — — 11 17 — — — 4 1 — Players in the Dark
"Loveline" 60 — 19 — — — — — — — —
If I'd Only Come And Gone
Dr. Hook Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
If I'd only come and gone
The way I've always done with summer girls before
Shared one night with you and never reached for more
Then we wouldn't face this long and painful righting of the wrong
If I'd just come and gone
And merely parked my dusty boots outside your door
Tracked no footprints 'cross your polished hardwood floor
If I'd have left you in your doorway smilin' drowsily at the dawn
If I'd just come and gone
Then I'd be on a shinin' silver plane dippin' into Denver
Or a schooner blowin' down The Biscayne Bay
You'd be safely tucked away among the pleasure I'd remember
'Stead of lyin' here beside me fearin' restless thoughts inside me
That might awaken with the breakin' of each new day
If you'd only stopped to read
Cold hard words I carved on other bedroom walls
And heard the mornin' coffee truths I told 'em all
I'd still be on your lips like some unfinished half-remembered song
You'd never have loved me if I'd just come and gone
If I'd only come and gone
If I'd only come and gone
If I'd only come and gone
(c) Tro-Essex Music Ltd.
The lyrics of "If I'd Only Come and Gone" by Dr. Hook, penned by the prolific songwriter Shel Silverstein, is a reflective piece on the regret of staying too long with someone, leading to a painful end. The singer addresses their lover, wishing they had just come and gone, like they always do with summer girls, resulting in just one night of passion and no emotional attachments to work out. However, their lingering presence caused footprints on the polished floor and created memories that will haunt them. The singer longs for a reality where they had left early, and their lover would remember them fondly, rather than the current state of restlessness and uncertain thoughts that they both harbor.
The nostalgia and regret in the lyrics of this song are palpable. The singer knows that they made a mistake by staying too long, and now they are left with the consequences. In the final verse, the singer mentions other bedroom walls with cold hard truths they left, indicating that this is a pattern with them. The song ends on an unresolved note with the singer repeating the phrase, "If I'd only come and gone," as if to convince themselves that they could have changed something if they had acted differently.
Line by Line Meaning
If I'd only come and gone
If I had only engaged with you briefly and then left, like I have done in the past with other temporary lovers.
The way I've always done with summer girls before
This is a typical method I use to engage with short term partners during the summer season.
Shared one night with you and never reached for more
I would have merely engaged in a brief sexual encounter and not tried to continue any sort of relationship.
Then we wouldn't face this long and painful righting of the wrong
We wouldn't be dealing with the difficulties and struggles of trying to make amends for the mistakes I have made in our relationship.
If I hadn't stayed so long
If I hadn't overstayed my welcome and instead left when I should have.
And merely parked my dusty boots outside your door
If I had just briefly visited and not made myself at home in your space.
Tracked no footprints 'cross your polished hardwood floor
I wouldn't have left my mark in your home and disrupted the cleanliness and orderliness of your space.
If I'd have left you in your doorway smilin' drowsily at the dawn
If I had left you content and happy, basking in the afterglow of our brief encounter.
If I'd just come and gone
If I had only left after a brief encounter without overstaying my welcome.
Then I'd be on a shinin' silver plane dippin' into Denver
I would be off on my travels and adventures, free to do as I please without any commitment or responsibility.
Or a schooner blowin' down The Biscayne Bay
I could be sailing the open seas without any obligation or worry, enjoying the freedom and independence that comes with it.
You'd be safely tucked away among the pleasure I'd remember
You would be just another temporary lover among the many experiences and pleasures I have accumulated in my lifetime.
'Stead of lyin' here beside me fearin' restless thoughts inside me
Instead of lying here with me, worrying about my fickle and unpredictable nature, which could cause me to leave at any moment.
That might awaken with the breakin' of each new day
My uncertainty and fear of commitment might suddenly become apparent each new day, causing me to leave without warning or explanation.
If you'd only stopped to read
If only you had taken the time to consider the warning signs I left on the walls of other lovers' homes.
Cold hard words I carved on other bedroom walls
I have left messages behind for others to read, to forewarn them of the temporary nature of our encounters.
And heard the mornin' coffee truths I told 'em all
I have also shared my candid thoughts and intentions with others over coffee in the morning.
I'd still be on your lips like some unfinished half-remembered song
If you had only listened to the warning signs and not become involved with me, I would still be a distant memory, a regretful experience that you half-remember but never completely forgot.
You'd never have loved me if I'd just come and gone
If I had maintained my usual pattern of brief encounters and not overstayed my welcome, you never would have become emotionally invested in me.
If I'd only come and gone
If only I had followed my typical pattern of behavior, engaging in brief encounters and then moving on without attachment.
If I'd only come and gone
If only I had not disrupted our lives by overstaying my welcome and causing emotional turmoil and pain.
If I'd only come and gone
If only I had listened to the warning signs and not allowed myself to become emotionally entangled in a relationship I knew I could not fully commit to.
Lyrics © O/B/O APRA AMCOS
Written by: SHEL SILVERSTEIN
Lyrics Licensed & Provided by LyricFind
Ronja´s Dr Hook Channel
Lyrics:
If I'd only come and gone
The way I've always done with summer girls before
Shared one night with you and never reached for more
Then we wouldn't face this long and painful righting of the wrong
If I'd just come and gone
If I hadn't stayed so long
And merely parked my dusty boots outside your door
Tracked no footprints 'cross your polished hardwood floor
If I'd have left you in your doorway smilin' drowsily at the dawn
If I'd just come and gone
Then I'd be on a shinin' silver plane dippin' into Denver
Or a schooner blowin' down The Biscayne Bay
You'd be safely tucked away among the pleasure I'd remember
'Stead of lyin' here beside me fearin' restless thoughts inside me
That might awaken with the breakin' of each new day
If you'd only stopped to read
Cold hard words I carved on other bedroom walls
And heard the mornin' coffee truths I told 'em all
I'd still be on your lips like some unfinished half-remembered song
You'd never have loved me if I'd just come and gone
If I'd only come and gone
If I'd only come and gone
If I'd only come and gone
Tro-Essex Music Ltd.
Ronja´s Dr Hook Channel
Lyrics:
If I'd only come and gone
The way I've always done with summer girls before
Shared one night with you and never reached for more
Then we wouldn't face this long and painful righting of the wrong
If I'd just come and gone
If I hadn't stayed so long
And merely parked my dusty boots outside your door
Tracked no footprints 'cross your polished hardwood floor
If I'd have left you in your doorway smilin' drowsily at the dawn
If I'd just come and gone
Then I'd be on a shinin' silver plane dippin' into Denver
Or a schooner blowin' down The Biscayne Bay
You'd be safely tucked away among the pleasure I'd remember
'Stead of lyin' here beside me fearin' restless thoughts inside me
That might awaken with the breakin' of each new day
If you'd only stopped to read
Cold hard words I carved on other bedroom walls
And heard the mornin' coffee truths I told 'em all
I'd still be on your lips like some unfinished half-remembered song
You'd never have loved me if I'd just come and gone
If I'd only come and gone
If I'd only come and gone
If I'd only come and gone
Tro-Essex Music Ltd.
Сергей Сироткин
Великолепно!
Sherry Robillard
I love that you are putting up the songs lyrics 🙏🏻❤️🇨🇦
Crystal Belle 2
Thank you, thank you, thank you! Sherry I hadn’t even caught that so thank you for pointing it out to the nearly blind woman. And thank you Ronja for posting the lyrics. That’s awesome! 👏 ✌️
Ana julia klem
Lindo amei vendo aqui no Brasil 😍❤💚💛💙
Crystal Belle 2
Thank you Ronja. I thought I had heard all of their songs, but I hadn’t heard this either. Very beautiful and too relatable.
Maybe we broke g+ haha! About as soon as I found you there, they turned out the lights and closed the door. Feel free to message me on here if the mood should ever arise. I didn’t go to another social network bc we still have YouTube.
Your uploads are always appreciated more than words can say. Have a great summer. ~<3~
Jon G
Shel was the greatest song writer ever...
Alternative Perception
Love it . Never heard it before THANKS Ronja 👍👍✌
AgTigress
One of my favourites. Thank you, Ronja.
Moon Dancer
Nice song. I've never heard it before. Thanks Ronja!