2. An American doo wop group, whose lone hit was "Sh-Boom", ranked #215 on Rolling Stone's list of the 500 Greatest Songs Of All Time. The Chords were a 1950s American doo wop group, whose lone hit was "Sh-Boom". They are sometimes mistakenly cited as the first R&B group of the 1950s to reach the pop charts. Although both versions of the song Sh-Boom (by The Chords and by The Crew-Cuts) were huge hits, it is the song Gee, released by The Crows in June 1953, that is properly credited with the honor of being the first Rock n’ Roll hit by a rock and roll group. The Chords - Carl (lead) and Claude Feaster (baritone), Jimmy Keyes (first tenor), Floyd "Buddy" McRae (second tenor) and Ricky Edwards (bass) - formed in 1951 in the Bronx, New York, but were not discovered until three years later, when they were spotted singing in a subway station, a performance that ultimately landed them a recording contract with Atlantic Records' Cat Records label. Jerry Wexler, Atlantic's A&R man, had the Chords cover a Patti Page hit, "Cross Over the Bridge" (it was also covered by The Flamingos for the Chance Records label), but it was the B-side, "Sh-Boom," a vocal tune with an a cappella catchy introduction that caught the imagination. A cover version later done by a white group called The Crew-Cuts, attempted to add their own spin on the song by seemingly adding nonsensical syllables ("shh-boom, shh-boom, yadda da da yadda da da da da da") that caused considerably more commotion. However the words ("Yadda da da yadda da da da da da") were never sung in the original version by the Chords. By the end of June 1954, "Sh-Boom" had climbed up the charts nationwide, charting on both the R&B (number three) and pop (number nine) lists, a nearly unprecedented feat for its time. For all practical purposes - along with The Crows' 1954 hit "Gee" (another upbeat B-side hit that DJs flipped over) - "Sh-Boom" introduced the white audience to black R&B music for the first time. [NOTE: The Crows "Gee" first appeared on the Billboard charts in March, 1954. While both versions of "Sh-Boom" were influential, better candidates for the first, or most influential song, by a black act to cross-over from the R&B charts to the pop charts, are The Dominoes' "Sixty Minute Man" which made it to #17 of the pop charts in 1951, and The Orioles' "Crying in the Chapel", #11 in 1953]. Not everyone thought the song was a precursor of good things to come. Peter Potter, host of TV's popular "Juke Box Jury", was seemingly aghast at the state of this then-new trend in pop music and attacked "Sh-Boom" asking if anyone would remember the admittedly demented ditty in five, let alone 20 years time and whether any record label would even think to re-release it in the future. Atlantic released numerous additional singles which mostly failed to chart. A last gasp attempt to resurrect the act came in mid 1955 when the group renamed themselves the Sh-Booms after their one big hit. The Chords/Chordcats/Sh-Booms went through several personnel changes during the late 1950s, recording a handful of forgettable records for Vik Records in 1957, and eventually returned to Atlantic in 1960 for one last recording before slipping away into the ether of time.
1. The British 1979 Mod Revival band called "The Chords" consisted of Chris Pope, Martin Mason, Billy Hassett, and Brett Ascott. The Chords story starts with cousins Billy Hassett and Martin Mason rehearsing Beatles and Who songs, etc, together at school. Via a New Musical Express advert Chris Pope joins in January 1978. They spend the year writing, rehearsing and playing a couple of gigs. They also fail to become the band in Quadrophenia - too loud apparently!. With the dawn of 1979 Paul Halpin (the original drummer and eventual road manager) is replaced with Brett (Buddy) Ascott. Buddy adds the final element the band is looking for. A powerhouse drummer with far too much energy and a desire to be Keith Moon, Buddy is the final link in the chain. By the end of March the band are playing the Wellington in Waterloo to packed crowds. In the audience are Paul Weller, NME and Polydor. This helps the band secure more gigs and an important support slot to The Jam.
https://www.youtube.com/watch?v=9P9-swHFctk
http://www.discogs.com/artist/658528-Chords-The-2
http://en.wikipedia.org/wiki/The_Chords
http://www.chrishunt.biz/features54.html
http://www.trouserpress.com/entry.php?a=chords
http://www.thechords.co.uk/
https://myspace.com/thechordsuk
She Was Love
The Chords Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I see her in reality
She is love to me
She is love
Yeah Yeah Yeah
She is love
Yeah Yeah Yeah
She gives me all the joy
All the joy that I can be
She is love to me
She is love
Yeah Yeah Yeah
She is love
Yeah Yeah Yeah
She is love to me
I see her in my dreams
I see her in reality
She is love to me
She is love
Yeah Yeah Yeah
She is love
Yeah Yeah Yeah
She is love to me
Don't you go
I just can't take it
Here's my life
Now don't you break it
Can't you see
What you mean to me?
She is love
Yeah Yeah Yeah
She is love
Yeah Yeah Yeah
She is love to me
She gives me all the joy
All the joy that I can be
She is love to me
The lyrics to The Chords's song "She Was Love" express a deep longing and admiration for a person who holds a special place in the singer's heart. The repetition of the phrase "She is love" emphasizes the profound impact this person has on the singer's life.
In the first two verses, the singer describes how they see this person both in their dreams and in reality, emphasizing that she is a constant presence in their life. The phrase "I see her in my dreams" suggests that this person occupies the singer's thoughts even when they are not physically present.
The chorus reaffirms the central theme of the song, with the repeated lines "She is love, Yeah Yeah Yeah" emphasizing the importance and intensity of the singer's feelings for this person. It is clear that this person brings immense joy into the singer's life, as expressed through the line "She gives me all the joy, all the joy that I can be."
The bridge of the song introduces a plea for the person not to leave, indicating the fear of losing the happiness and love they bring. The singer offers their life to this person and begs them not to break it, showing the vulnerability and dependency they feel towards this person.
Overall, the lyrics portray a deep emotional attachment to someone who brings immense joy and love into the singer's life. They see this person as the embodiment of love, constantly present in their thoughts and dreams, and are terrified of losing the happiness they bring. It is a heartfelt and passionate expression of affection and admiration.
Line by Line Meaning
I see her in my dreams
I constantly imagine her presence in my subconscious
I see her in reality
She appears before me in the real world
She is love to me
She represents the epitome of love in my life
She is love Yeah Yeah Yeah
I confidently declare that she embodies the essence of love
She gives me all the joy
She provides me with immense happiness and fulfillment
All the joy that I can be
She brings out the best version of myself, allowing me to experience true joy
Don't you go
Please don't depart from my life
I just can't take it
I wouldn't be able to bear the pain of losing you
Here's my life
I am entrusting you with my entire existence
Now don't you break it
Please do not shatter my heart or betray my trust
Can't you see
Do you not realize
What you mean to me?
The profound significance you hold in my life
She is love to me
She remains the embodiment of love in my eyes
Lyrics © O/B/O DistroKid
Written by: Richard Mulvey
Lyrics Licensed & Provided by LyricFind