When formed in 1955, the band included Willie Williams on rhythm guitar (replaced in late 1956 by Paul Peek), Jack Neal on upright bass, Dickie Harrell on drums, and Cliff Gallup on lead guitar. The band quickly gained a reputation playing in various country bars in Norfolk, Virginia (where Vincent was born. There they won a talent contest organized by a local radio DJ, "Sheriff Tex" Davis, who then became Vincent's manager.
After "Be-Bop-a-Lula" became a hit, Vincent & His Blue Caps were unable to follow it up with the same level of commercial success, although they released critically acclaimed songs like "Race with the Devil" (number 96 on the US Billboard chart and number 50 on the US Cash Box chart) and "Bluejean Bop" (number 49 on the US Billboard chart and another million-selling disc).
Cliff Gallup left the band in 1956, and Russell Williford joined as the new guitarist for the Blue Caps. Williford played and toured Canada with Vincent in late 1956 but left the group in early 1957. Gallup came back to do the next album and then left again. Williford came back and exited again before Johnny Meeks joined the band. The group had another hit in 1957 with "Lotta Lovin'" (highest position number 13 and spending 19 weeks on the Billboard chart and number 17 and 17 weeks on the Cashbox chart). Vincent was awarded gold records for two million sales of "Be-Bop-a-Lula", and 1.5 million sales of "Lotta Lovin'".
On November 17, 1957, Vincent & His Blue Caps performed "Be-Bop-a-Lula" on the nationally broadcast US television program The Ed Sullivan Show. The song spent nine weeks on the Billboard chart and peaked at number 23 on January 23, 1958 and reached number 36 and spent eight weeks on the US Cashbox chart. It was Vincent's last American hit single. The song was used in the movie Hot Rod Gang for a dance rehearsal scene featuring dancers doing the West Coast Swing.
Vincent & His Blue Caps also appeared several times on Town Hall Party, California's largest country music barn dance, held at the Town Hall in Compton, California. They appeared on October 25, 1958, and July 25 and November 7, 1959.
By the end of 1959 the Blue Caps were no longer part of the billing on Gene Vincent records. The late 1959 single "Wild Cat" was credited solely to Gene Vincent, and this would be the case on all subsequent Gene Vincent releases.
Gene Vincent, real name Vincent Eugene Craddock, (February 11, 1935 – October 12, 1971) was an American rockabilly pioneer musician, best known for his hit “Be-Bop-A-Lula”.
Early life:
His parents, Ezekiah Jackson and Mary Louise Craddock, were shop owners in Norfolk, Virginia. He grew up in Virginia under the influence of country, Rhythm and Blues and Gospel music. He received his first guitar as a gift from a friend at the age of 12.
In 1952 Gene left school and joined the Navy. In 1955 he was stationed in Korea, where he suffered a severe motorcycle accident that shattered his left leg. He refused to have it amputated, the leg was saved, but left him with a permanent limp and considerable chronic pain for the rest of his life.
Early career:
He left the Navy and started playing in various country bands in his native Norfolk, Virginia. In 1956 he wrote "Be-Bop-A-Lula", which helped him sign a contract at Capitol Records with his backing band The Blue Caps.
After "Be-Bop-A-Lula" had become a huge hit, Gene Vincent & the Blue Caps were unable to follow it up with the same level of commercial success but recorded critically acclaimed songs like "Bluejean Bop" and "Race with the Devil". That year, Vincent was reputedly convicted of public obscenity and fined $10,000 by the state of Virginia for his live performance of the erotic song, "Woman Love", although this is now believed to have been just a rumor.
The group had another hit with 1957's "Lotta Lovin'." Vincent also became one of the first rock stars to star in a film, The Girl Can't Help It together with Jayne Mansfield.
There were numerous changes of personnel in his backing group, The Blue Caps. However, a dispute with the US Tax Authorities and The American Musicians' Union over payments to his band and his having sold the band's equipment to pay a tax bill led him to leave the USA and try his hand in Europe.
Following a tour through Europe in 1959, Vincent managed to attract a new huge and discerning audience there, especially in England and France. By that time his career had mostly ended in the US. Consequently, he moved to England in 1960. His stage shows became "must see" events and his bands through those years were to spawn some of the most respected players in the world today. It was during his early tours of Britain that he adopted the trademark leather outfit, at the suggestion of British Rock 'n' Roll impressario, Jack Good.
In 1960, while on tour in Britain, Vincent and songwriter Sharon Sheeley were seriously injured in a high-speed traffic accident in a private hire taxi travelling through Chippenham, Wiltshire on the A4. The car, a Ford Consul, suffered a blowout causing it to swerve and crash into a lamp post. Vincent broke his ribs, collarbone, and added further damage to his already weak leg, and Sheeley suffered a broken pelvis. Both Vincent and Sheeley survived, but the accident killed Vincent's tourmate and Sheeley's fiancé, Eddie Cochran.
Later career:
His attempts to re-establish his American career by recording in folk rock and country-rock styles proved unsuccessful, and he is most remembered today for his recordings of the 1950s and early 1960s which originally appeared on the Capitol Records label.
On the album "I'm Back and I'm Proud" recorded for long-time fan John Peel's Dandelion label, Gene was backed by members of The Doors, whose lead singer, Jim Morrison, copied Gene's 'Leather Look'.
He has achieved a genuine legendary status and his work is respected, and often copied, by singers and groups worldwide. His major hit, Be-Bop-A-Lula has become what is considered to be one of the top three rock'n'roll records of all time and has rightly earned Gene a place in the history of modern music. Had he managed to survive through the Punk years, he would undoubtedly still be a leading figure in contemporary rock'n'roll.
On his final tour of the UK, he was backed by The Wild Angels, a British band who had previously worked at the Royal Albert Hall with Bill Haley & the Comets and Duane Eddy. Because of pressure from his ex-wife, the Inland Revenue and promoter Don Arden, Gene had to return rather swiftly to the USA.
Gene Vincent died from a ruptured stomach ulcer while visiting his father in California, and is interred in the Eternal Valley Memorial Park, Newhall, California.
He was the first inductee into the Rockabilly Hall of Fame on its formation in 1997. The following year he was also posthumously inducted into the Rock and Roll Hall of Fame.
Who Slapped John?
Gene Vincent & His Blue Caps Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I heard another say, man, she my pal
Well John jumped up, then he screamed
Well-she's may gal, man, and that I mean
Well, who-who, who slapped John?
Who-who, who slapped John?
Baby, who slapped John when the lights went low-oh?
(jump...go cats go, all you cats cool it, etc.)
Well, the lights went on, then went off
John got slapped tryin' to hold his own
Well, who-who, who slapped John?
Who-who, who slapped John?
Baby, who slapped John when the lights went low-oh?
Who-who, who slapped John? (jump...more of Dickie's adlibs)
Well I heard John say, man, she's my gal
I heard another say, man, she my pal
Well John jumped up, then he screamed
She's may gal, man, and that I mean
Well, who-who, who slapped John?
Who-who, who slapped John?
Baby, who slapped John when the lights were low-oh?
Who-who, who slapped John?
(jump...go-go-go John go, etc.)
Well, the lights went on, then went off
John got slapped tryin' to hold his own
Well, who-who, who slapped John?
Who-who, who slapped John?
Baby, who slapped John when the lights went low-oh?
Who-who, who slapped John?
The lyrics of Gene Vincent & His Blue Caps's song Who Slapped John? describe a scenario of a fight that breaks out between two men at a party over a woman. The song begins with John claiming that the woman in question is his girlfriend, while another man declares her to be his friend. Suddenly, John jumps up and yells that she is his gal, and the lights go out. When they come back on, it is revealed that John has been slapped while trying to defend himself. The song ends with the repeated questioning of who slapped John.
The song's lyrics are not meant to be taken too seriously, as they are somewhat comedic in nature. However, they do highlight the theme of male aggression and competition over women, which was a common theme in 1950s rock and roll music. Additionally, the song's repetitive chorus and energetic musical style contribute to the excitement and liveliness of the party setting that the lyrics describe.
Line by Line Meaning
Well I heard John say, "Man, she's my gal"
I overheard John claim a woman as his own
I heard another say, "Man, she my pal"
Someone else claimed her as a friend
Well John jumped up, then he screamed
"Well-she's may gal, man, and that I mean"
John got defensive and declared that she belongs to him
Well, who-who, who slapped John?
Someone slapped John and the artist wants to know who did it
Baby, who slapped John when the lights went low-oh?
The artist is asking who slapped John when the lights were dimmed
(Jump, go cats go, all you cats cool it)
Some encouragement for everyone to calm down
Well, the lights went on, then went off
John got slapped tryin' to hold his own
The lights went on and off and during that time, someone hit John while he was trying to defend himself
Baby, who slapped John when the lights were low-oh?
The artist is still curious about who slapped John when the lights were dimmed
(Jump)
A command to jump
Well I heard John say, "Man, she's my gal"
Repetition of the earlier observation of John claiming the woman as his own
I heard another say, "Man, she my pal"
Repetition of earlier observation of someone calling the woman their friend
Well John jumped up, then he screamed
"She's may gal, man, and that I mean"
Repetition of John becoming defensive and insisting that the woman belongs to him
Baby, who slapped John when the lights were low-oh?
Repetition of the inquiry about who slapped John when the lights were dimmed
(Jump, go-go-go John go)
Encouragement for John to keep going
Well, the lights went on, then went off
John got slapped tryin' to hold his own
Repetition of the earlier description of John getting hit while trying to defend himself
Baby, who slapped John when the lights went low-oh?
Final repetition of the inquiry about who slapped John when the lights were dimmed
Lyrics © Sony/ATV Music Publishing LLC
Written by: BILL DAVIS, GENE VINCENT
Lyrics Licensed & Provided by LyricFind