The original Drifters
Ahmet Ertegün of Atlantic Records approached Clyde McPhatter after he left The Dominoes and signed him. McPhatter first recruited several members of his former group, The Mount Lebanon Singers: William “Chick” Anderson (tenor), David Baldwin (baritone), and James “Wrinkle” Johnson (bass), plus David “Little Dave” Baughan (tenor). This aggregation lasted for only a single session (from which "Lucille" was the only song released), after which Atlantic asked McPhatter to form a different group. He finally settled on Gerhart Thrasherand Andrew Thrasher on baritone and second tenor, respectively, Bill Pinkney on high tenor, Willie Ferbee as bass, and Walter Adams on guitar. This is the group on the second session, which produced the group's first major hit: "Money Honey".
After the session, Ferbee was involved in an accident and left the group and Adams died (to be replaced by Jimmy Oliver). Ferbee was not replaced and the voice parts were shifted around: Gerhart Thrasher became first tenor, Andrew Thrasher was now the baritone, and Bill Pinkney shifted down to bass. The group released several more hits ("Such A Night," [1][2] "Honey Love," "Bip Bam," "White Christmas," and "What'cha Gonna Do") before McPhatter was drafted in May 1954 (after which he pursued a solo career). McPhatter had demanded a large share of the group's profits, which he had been denied in The Dominoes, but, upon his departure, did not ensure that this would continue for his successor. He sold his share of the group to [bandmember from=1953 to=1956[artist]George Treadwell, manager, former jazz trumpeter, and husband of legendary singer Sarah Vaughan. As a result, the Drifters cycled through copious members, none of whom made much money. McPhatter later expressed regret at this action, recognizing that it doomed his fellow musicians to unprofitability.
McPhatter was first replaced by David Baughn, who was on the group's first session. While his voice was similar to McPhatter's, his erratic behavior made him unsuitable in the eyes of Atlantic Records executives. Baughn soon left the group, and was replaced by Cleveland native Johnny Moore (of The Hornets). This lineup had a major R&B hit in 1955 with "Adorable," followed by several others ("Ruby Baby," "I Got To Get Myself A Woman," and "Fools Fall In Love"). Johnny Moore was drafted in November 1957 and replaced by Bobby Hendricks (who had briefly been with The Swallows), but to no success; the group was not able to break into mainstream markets.
In the mid 1950s, the Drifters began working with Jerry Leiber and Mike Stoller, legendary songwriters, who eventually became the group's producers as well. This is widely considered the group's golden age, inaugurated by the 1956 hit "(April, 1993)I Gotta Get Myself a Woman." Low salaries contributed to burnout among the members, particularly Bill Pinkney, who was fired after asking Treadwell for more money. Andrew Thrasher left as well, in protest. Pinkney formed another group, called The Flyers, with lead singer Bobby Hendricks (before he joined the Drifters to replace army-bound Johnny Moore).
Bill Pinkney was replaced by Tommy Evans (who had replaced Jimmy Ricks in The Ravens). Charlie Hughes, a baritone, replaced Andrew Thrasher. By early 1958, the lineup was: Bobby Hendricks (lead tenor), Gerhart Thrasher (first tenor), Jimmy Milner (baritone), Tommy Evans (bass), and Jimmy Oliver (guitar). By May 1958, both Hendricks and Oliver had quit, returning only for a week's appearance at the Apollo Theater. During that week, one of the members got into a fight with the owner of the Apollo. That was the last straw for manager George Treadwell, who fired the entire group.
Since Treadwell owned the rights to the name "Drifters," and since he still had a year's worth of bookings for the Apollo, he recruited another group, The Five Crowns, featuring lead singer Ben E. King. The group changed its name to the "Drifters" and went out on the road to tour for almost a year, although this new group had no connection to the prior Drifters.
Bill Pinkney's "Original Drifters"
Meanwhile, Bill Pinkney and other "fired" Drifters once again joined with the Thrashers and David Baughan to begin touring as "The Original Drifters" (although their first recordings, for End in 1959, were as the "Harmony Grits"). Baughan left after a short time, leaving the group a trio. Bobby Lee Hollis joined in 1964 and took over the lead spot. Later that year, Andrew Thrasher was out and Jimmy Lewis was in. Bobby Hendricks returned, making the group a quintet for a short time, before Lewis left. Andrew Thrasher returned, replacing Hollis. Hollis and Baughan bounced in and out through the 1960s. By 1968, the group was Pinkney, Gerhart Thrasher, Hollis, and Hendricks. At this point, the group split.
Pinkney met with an existing group, The Tears, and recruited them as the new Original Drifters. The Tears were Benny Anderson, George Wallace, Albert Fortson, and Mark Williams. Shortly after recruiting them, they broke away from Pinkney and continued touring as the Original Drifters for over a decade (Pinkney filed suit and successfully stopped them at that time).
Pinkney then brought in new members Bruce Caesar, Clarence "Tex" Walker, and Bruce Richardson. The lineup changed rapidly. In 1979 the group was Pinkney, Andrew Lawyer, Chuck Cockerham, Harriel Jackson, and Tony Cook. Their 1995 album Peace in the Valley, on Blackberry Records, credited vocals to Pinkney, Cockerham, Richard Knight Dunbar, Vernon Young, and Greg Johnson. [3][4] They appeared on the PBS special, Doo Wop 51 with Pinkney, Dunbar, Johnson, and Bobby Hendricks. The current lineup is Pinkney, Cockerham, Dunbar, Young, and Clyde McPhatter's son, Billy McPhatter. Greg Johnson is now in Bobby Hendricks' Drifters.
The second Drifters
Treadwell had approached Lover Patterson, the manager of The Five Crowns. All but one member of The Five Crowns went along with the name change to become the Drifters. The new line-up consisted of: Benjamin Earl Nelson (known professionally as Ben E. King; lead tenor), Charlie Thomas (tenor), Dock Green (baritone), and Elsbeary Hobbs (bass). James "Poppa" Clark was the fifth member; he was not included in the new group.
This new lineup released several singles that became chart hits: "There Goes My Baby," the first commercial rock-and-roll recording to include a string orchestra, "Dance With Me," "This Magic Moment," "Save The Last Dance For Me," and "I Count The Tears." However, personnel changes started almost immediately. Lover Patterson (who had managed the Five Crowns and was now the Drifters' road manager) got into a fight with George Treadwell. Since Patterson had Ben E. King under personal contract, he refused to let King tour with the group. Thus, King continued to record with the group for about a year before beginning a successful solo career. New member Johnny Lee Williams did the touring (although he can be heard leading "True Love, True Love"). Williams was subsequently replaced by Rudy Lewis (of The Clara Ward Singers), who led the Drifters on hits such as "Some Kind Of Wonderful," "Please Stay," and "Up on the Roof." While recording "Please Stay," songwriter Burt Bacharach met Dionne Warwick, a backup singer, thus beginning a legendary partnership.
Bass Elsbeary Hobbs was drafted and eventually replaced by the returning Tommy Evans (from the 1958 group). Dock Green left in 1962 and was replaced by Eugene Pearson (of The Rivileers and Cleftones). Tommy Evans left again in 1963 and was replaced by Johnny Terry. After his military service and a failed solo career, Johnny Moore returned in 1964, making the group a quintet of Moore, Charlie Thomas, Rudy Lewis, Gene Pearson, and Johnny Terry.
Later that year, the group was scheduled to record "Under the Boardwalk" on May 21. However, Rudy Lewis died the night before the session, and Johnny Moore took over as the sole lead (he and Lewis had been alternating). Terry was replaced in 1966 by Dan Dandridge for a couple of months, then by William Brent, who had been with Johnny Moore in The Hornets in 1954. Gene Pearson was replaced by Rick Sheppard that same year. By late 1966, baritone/bass Bill Fredricks replaced William Brent. Charlie Thomas, the group's last "original member" (from the day The Five Crowns had become the Drifters), left in mid-1967 and was replaced by Charles Baskerville, a former member of The Limelites. Baskerville stayed only a short time, leaving before a session (which was done as a trio). Baritone Milton Turner was added by the end of 1967. In late 1969, Milton Turner left and was replaced by another singer named Charlie Thomas (who took the nickname Don Thomas to avoid confusion with the former member). This lineup lasted only a few months. By March 1970, the Drifters had broken up. Johnny Moore and Bill Fredericks reunited in January 1971 (along with two unknown singers) to do an independently-produced session that was subsequently sold to Atlantic. "A Rose By Any Other Name" and "Be My Lady" became the Drifters' last Atlantic release.
Post-Atlantic career
After this, the Drifters moved to [place[England[/place] and underwent the usual bewildering personnel changes. Throughout the 1970s, the only charted records for the group were on the British charts - notably "Kissing In The Back Row Of The Movies", "There Goes My First Love" and "You're More Than A Number In My Little Red Book". Along with Moore and Fredricks, Butch Leake and former Ink Spots mamber Grant Kitchings[/bandmember were members initially. Fredricks was replaced by [bandmember]Clyde Brown the next year, and Kitchings by Billy Lewis the year after. Leake was replaced by Joe Blunt in 1976, making the lineup Johnny Moore, Clyde Brown, Joe Blunt, and Billy Lewis. This year, Faye Treadwell renamed the group's management company Treadwell Drifters Inc.
Moore left in 1978 and was replaced by Ray Lewis. Blunt and Billy Lewis left in 1979 and were replaced by the returning Johnny Moore and former Temptations lead Louis Price. Moore left again in late 1982, along with Clyde Brown. They were replaced by two returning members, Ben Nelson (a.k.a. Ben E. King) and Bill Fredricks.
Around this time, members left and rejoined frequently. Fredricks, Lewis, and Price left in 1983 and were replaced by the returning Johnny Moore, Joe Blunt, and Clyde Brown. In 1986, the group changed all of its members and the new lineup consisted of new member Jonah Ellis and former members Ray Lewis, Billy Lewis, and Louis Price. The next year, more former members came in as replacements, making the group Moore, Billy and Ray Lewis, and Gene Jenkins (replaced shortly after by George Chandler, then John Thurston). Ray Lewis was out in 1988, and was replaced by Joe Cofie. In 1989, Billy Lewis left, and replaced by the returning George Chandler, then Tony Jackson, Keith John, and finally Peter Lamarr in 1990.
Thurston was out at the end of the year and was replaced by Roy Hemmings. Patrick Alan was in for Lamaar briefly. Lamaar left in 1991 and was replaced by Rohan Delano Turney. This lineup lasted until 1996, when Cofie was out and Jason Leigh was in. Leigh was replaced after two years by the returning Peter Lamarr.
Tragedy struck in 1999 when the group's longest serving member, Johnny Moore, died. Patrick Alan returned to the group, keeping it a quartet. Lamarr left again in 2003, and was replaced by Victor Bynoe. Hemmings left in 2004 and was replaced by the again-returning Lamarr. The group's current lineup is Peter Lamarr, Rohan Delano Turney, Patrick Alan, and Victor Bynoe. [5] This line up is fully endorsed by Johnny Moore's wife and in Allan, Lamarr and Turner actually contains three of the longest serving Drifters members.
In 2001, Faye Treadwell left the United Kingdom, allegedly due to bankruptcy. Two members of her company, Mark Lundquist and Phil Lunderman, started a new management company, Drifters UK Limited, to run the group. Their new duties included stopping a patent by an imposter Drifters group. [6][7]
As of December 2006, writs have been served in the London High Court by Tina Treadwell, daughter of George and Faye, against Lundquist and Lunderman, alleging they are not the rightful controllers of The Drifters. Tina's group features Roy Hemmings and Jason Leigh. It should be noted that Hemmings remained with Lundquist and Lunderman initially, leaving three years after the formation of Drifters UK Limited.[8][9] It will be interesting to see how things transpire should Treadwell win her case, since the current Drifters lineup touring the UK has built up a fan base selling out one tour after another with Johnny Moore and continuing after his death. The Vocal Group Hall of Fame has inducted both 'The Original Drifters' (1998) and 'Ben E. King and The Drifters'(2000).
In 2004, Rolling Stone Magazine ranked The Drifters #81 on their list of the 100 Greatest Artists of All Time.[1]
On July 4, 2007, Bill Pinkney died of a heart attack in his room at the Hilton Hotel, Daytona Beach, Florida, where he was in town to perform for the 4th of July Red, White and Boom Event.[2]
In 2009, the lineup consists of Damion Charles, Michael Williams, Steve V. King and Maurice Cannon. For tour dates and more info go to www.theofficialdrifters.com
There was also a Japanese vocal group called the Drifters although the romanisation of their name (ザドリフタース) yields many variations: Doriftas, Dorifutas, Dorihutasu, etc.
Kissin In The Backrow Of The
The Drifters Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Your mama says that through the week
you can't go out with me
but when the weekend comes around
she knows where we will be
Chorus
Kissing in the back row
of the movies on a saturday night with youholding hands together you and i
holding hands together (yeah)
smooching in the back row
of the movies on a saturday night with you
we could stay forever you and i
we could stay forever you and i
hugging and a kissing in the back row of the movies
Verse 2
Every night i pick you up from school
cause your my steady date
but from monday through to friday night
i leave you at the gate (yeah)
you know we can't have too much fun
til all your homeworks done
but when the weekend comes
She knows where we will be
Chorus
Kissing in the back row
of the movies on a saturday night with you
holding hands together you and i
holding hands together (yeah)
smooching in the back row
of the movies on a saturday night with you
we could stay forever you and i
we could stay forever you and i
hugging and a kissing in the back row of the movies
i sit alone at night and watch tv
but i still think of you
and i am in the game for that
we share a junk or two
you know friends don't knock on my door
on friday night any more
Cause when the weekend comes
They know where i will be
Chorus
Kissing in the back row
of the movies on a saturday night with you
holding hands together you and i
holding hands together (o yeah)
smooching in the back row
of the movies on a saturday night with you
we could stay forever you and i
we could stay forever you and i
hugging and a kissing in the back row of the movies
yeah
hugging and a kissing in the back row of the movies
The lyrics of "Kissin' in the Back Row of the Movies" by The Drifters encapsulate youthful romance and the thrill of secretive affection, particularly in the context of societal expectations and the carefree spirit of teenage love. The song's narrative unfolds around the quintessential weekend escapades of a young couple who find solace and intimacy in the back row of a cinema. In the opening verse, there’s a palpable contrast between the singer's relationship with his girlfriend and the restrictions imposed by her mother. During the week, she is expected to uphold her responsibilities, like attending school and completing homework, suggesting the pressure of maintaining an image of innocence. Yet the borders set by parental guidance come to a halt on Saturday night, where love and rebellion flourish in the clandestine setting of a movie theater.
The chorus vividly depicts the affection shared between the couple, characterized by the thrill of kissing and holding hands in the back of the cinema. It represents a sanctuary where young love can thrive – where the couple can engage in their burgeoning romance away from the judgments of the world outside. This act of "kissing in the back row" symbolizes a desire for privacy and intimacy, making that simple, yet powerful gesture a symbol of their shared connection. The repetition of "we could stay forever you and I" reflects a yearning for eternal love, an idealization commonly found in young romance where the future seems limitless, and every moment spent together is precious.
In the subsequent verses, the lyrics acknowledge the reality of a more structured life during the week, contrasting with the liberating joy of the weekend rendezvous. The singer dutifully picks up his girlfriend from school every day, affirming his commitment but ultimately admitting that their true fun can only happen when they are free from the obligations of their academic lives. The mention of homework and the boy leaving her at the school gate conveys the dichotomy of their relationship: an affection that flourishes in private but is tethered by the constraints of youth. The sense of anticipation builds as the weekend approaches, which is when the couple truly comes alive, underscoring the relatable sentiment that many couples experience during their adolescence.
Finally, the narrative evolves into a more introspective tone in the third verse, wherein the singer reflects upon his life outside of the weekend escapades. Sitting alone and watching television suggests a sense of loneliness and longing during the times spent apart. The reference to friends no longer knocking on his door on Friday night indicates a shift in priorities; the singer has chosen love over casual social interactions. This sacrifice highlights the depth of his feelings for his girlfriend. The concluding repetition of the chorus reinforces the idea that despite the mundanity of the week, the weekend stands as a beacon of hope and joy, emphasizing the togetherness and innocent romance that define their relationship. The song captures the essence of youthful love, full of longing, spontaneity, and the sweet joys of secret rendezvous in the back row of the movies.
Line by Line Meaning
Your mama says that through the week you can't go out with me
Your mother has imposed a rule that prevents you from seeing me during the weekdays.
but when the weekend comes around she knows where we will be
However, she understands that once the weekend arrives, we will inevitably be together.
Kissing in the back row of the movies on a saturday night with you
We share intimate moments, such as stealing kisses in the back seats of the cinema on Saturday nights.
holding hands together you and i
We experience the sweet connection of holding hands, signifying our bond.
smooching in the back row of the movies on a saturday night with you
We indulge in playful affection, enjoying each other's company in the secluded back row.
we could stay forever you and i
In this moment, it feels as if we could linger together indefinitely, cherishing our time.
hugging and a kissing in the back row of the movies
We find joy in embracing and sharing tender kisses, enveloped in our private world at the movies.
Every night i pick you up from school cause your my steady date
Each evening, I come to collect you from school because you are my consistent companion.
but from monday through to friday night i leave you at the gate
However, during the weekdays, I must respect boundaries and drop you off at the entrance.
you know we can't have too much fun til all your homeworks done
You're aware that our freedom to enjoy ourselves is limited until you've completed your schoolwork.
but when the weekend comes She knows where we will be
But once the weekend arrives, it's clear to everyone that we'll be together.
I sit alone at night and watch tv but i still think of you
In the solitude of my evenings spent watching television, my thoughts are consistently occupied by you.
and i am in the game for that we share a junk or two
I'm fully invested in our relationship, and together we find joy in sharing our little secrets and experiences.
you know friends don't knock on my door on friday night anymore
My friends have stopped visiting me on Friday nights, recognizing my commitment to being with you.
Cause when the weekend comes They know where i will be
When the weekend finally arrives, my friends are aware that I will be spending it with you.
Kissing in the back row of the movies on a saturday night with you
We continue to enjoy intimate moments, sharing kisses in the movie theater's back row every Saturday night.
holding hands together you and i
We symbolize our togetherness by holding hands, reinforcing our connection.
smooching in the back row of the movies on a saturday night with you
We engage in playful affection, relishing our time together in the back row of the cinema.
we could stay forever you and i
It feels as though we could stay here together indefinitely, lost in each other's company.
hugging and a kissing in the back row of the movies
Once again, we find bliss in hugging and kissing, wrapped in our own private paradise at the movies.
yeah hugging and a kissing in the back row of the movies
Indeed, we share tender moments of affection, embracing and kissing in the seclusion of the cinema.
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
@shelliedickinson993
Can't beat The Drifters. I'm 50 and these remind me of every Sunday my parents would put the LP on. Great music. Good times. Today's music never beat it
@johnholloway5306
Timeless banger
@christouvelos4897
they have very smooth -soothing voices
@Hugh-l1s
Johnny Moore joined The Drifters back in the fifties and became lead singer in early sixties and got better with age! In watching the videos that were made over in England he really seemed to enjoy singing! Sure made and makes my life a little brighter! Love to hear him sing!!❤
@krislulofs
Now i am a young boy of 64 years.I feel the disco beat from 46 years ago.Then i met my wife.I still feel young.But we do not have to work any more.Just having fun.Making a lot of holidays.
But time flys when you have fun😎
@sharonsherwood2421
The soundtrack of my teen years along with the stylistics
@allgood6760
Timeless!.. great song 👍🎶
@Callthehands
Some songs you hear as a child that you just love... its joy to listen to this song as an old grumpy man...
@kahleenfotu42
I'm 37 and these songs bring back so much cool memories of watching my parents having the coolest partys 🥳
@pehe77
I'm 60 and I remember the exact same! Timeless music ❤️