The band started as an acoustic blues trio in the mid 1960s with singer and guitarist J. Geils (born February 20, 1946; died April 10, 2017), bassist Danny Klein (Dr. Funk) and harpist Richard Salwitz (stage name Magic Dick). The band formed under the name Snoopy and the Sopwith Camels while Geils was attending Worcester Polytechnic Institute for a couple of semesters. In 1967 the band switched focus, starting to play electric guitar and bass and recruiting drummer Stephen Jo Bladd and fast-talking ex-disc jockey singer Peter Wolf, born Peter Blankenfeld, both from Boston. The following year Seth Justman joined as an organist, and the group signed to Atlantic Records in 1970.
The J. Geils Band first received FM radio airplay with the live single "First I Look at the Purse", then had several hit singles in the 1970s, the most successful of which was "Must Of Got Lost" (1974). Later in the 1970s, the band signed with EMI America Records.
The band had good success covering soul singles. Besides the well-known aforementioned "First I Look at the Purse" from The Contours, they covered the more obscure "I Do" from The Marvelows and "Ain't Nothing But a House Party" from The Showstoppers.
The group's commercial fortunes improved in the early 1980s, first with the humorous "Love Stinks", then with their great success with the Freeze Frame album which included "Centerfold" (#1 for six weeks on the Billboard Hot 100) and then the title cut (#4). Wolf left the group in 1983 for a solo career not long after, over disagreements about whether to continue to take the band in more of a popular direction, or continue with the purist tradition.
The band went on to record one more album of new material, You're Gettin' Even While I'm Gettin' Odd, after Wolf left. He was not replaced, and Seth Justman took over most of the vocal duties. The album produced only one single - "Concealed Weapons", a song about breasts - and was not a success. The band toured in support of the album, but never again recorded anything new. The group then disbanded in 1985 after contributing the title song to the 1985 horror film Fright Night.
The group was not reunited with Wolf until 1999, and subsequently broke up again when ticket sales proved extremely disappointing. Wolf continues to tour with his own backup band, and the rest of the Geils band makes occasional appearances. Since the semi-retirement of the band, Geils has been restoring sports cars in Massachusetts.
On 22 May 2006, the six original members had a surprise reunion, the first time they had all played together in over 20 years, at bassist Danny Klein's 60th birthday party at Scullers Jazz Club in Boston.
Since 2009 they are reunited once more.
The band disbanded in 2017 after the death of bandleader J. Geils.
Centerfold
The J. Geils Band Lyrics
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Does she walk? Does she talk?
Does she come complete?
My homeroom, homeroom angel
Always pulled me from my seat
She was pure like snowflakes
The memory of my angel
Could never cause me pain
Years go by I'm lookin' through a girly magazine
And there's my homeroom angel on the pages in-between
My blood runs cold
My memory has just been sold
My angel is the centerfold
Angel is the centerfold
My blood runs cold
My memory has just been sold
Angel is the centerfold
Slipped me notes under the desk
While I was thinkin' about her dress
I was shy I turned away
Before she caught my eye
I was shakin' in my shoes
Whenever she flashed those baby-blues
Something had a hold on me
When angel passed close by
Those soft and fuzzy sweaters
Too magical to touch
To see her in that negligee
Is really just too much
My blood runs cold
Yeah, my memory has just been sold
My angel is the centerfold
Angel is the centerfold
My blood runs cold
My memory has just been sold
(Oh yeah)
Angel is the centerfold
Na-na, na-na-na-na
Na-na-na, na-na-na-na
Na-na, na-na-na-na
Na-na-na, na-na-na-na
Na-na, na-na-na-na
Na-na-na, na-na-na-na
Na-na, na-na-na-na
Na-na-na, na-na-na-na
(Now listen)
It's okay I understand
This ain't no never-neverland
I hope that when this issue's gone
I'll see you when your clothes are on
Take your car, yes we will
We'll take your car and drive it
We'll take it to a motel room
And take 'em off in private
A part of me has just been ripped
The pages from my mind are stripped
Oh no, I can't deny it
Oh yeah, I guess I gotta buy it
My blood runs cold
My memory has just been sold
My angel is the centerfold
Angel is the centerfold
My blood runs cold
My memory has just been sold
My angel in the centerfold
Na-na, na-na-na-na
Na-na-na, na-na-na-na
(Alright, alright)
(One, two, three, four)
Na-na, na-na-na-na
Na-na-na, na-na-na-na
Na-na, na-na-na-na
Na-na-na, na-na-na-na
Na-na, na-na-na-na
Na-na-na, na-na-na-na
Na-na, na-na-na-na
Na-na-na, na-na-na-na
My blood runs cold
My memory has just been sold
My angel is the centerfold
Angel is the centerfold
My blood runs cold (oh yeah)
My memory has just been sold
Angel is the centerfold
Angel is the centerfold
Na-na, na-na-na-na
Na-na-na, na-na-na-na
Na-na, na-na-na-na
The J. Geils Band's song "Centerfold" was released in 1981 and quickly became a hit. The song is about a high school crush that the singer had on a girl who was the "homeroom angel" and was always pulling him from his seat. Years later, he saw her in a girly magazine as the centerfold and realizes that his memory of her as a pure and innocent girl has been shattered. He reminisces about how she used to slip him notes under the desk and how he was completely mesmerized by her baby blues. The singer acknowledges that he understands she is an adult now but still can't resist her allure.
The lyrics of "Centerfold" capture the experience of high school crushes and the lasting memories they can leave. The song is an exploration of the objectification of women and the transformation of innocent young girls into sexual objects. Despite the fact that the singer acknowledges the problematic nature of his fixation on the centerfold, he can't help but be drawn to her.
Line by Line Meaning
(Come on)
Opening exclamation to encourage the listener to engage with the song.
Does she walk? Does she talk?
Asking about the physical appearance of a girl, suggesting interest in her as a potential romantic interest.
Does she come complete?
Wondering if the girl has all the qualities the singer desires in a romantic partner.
My homeroom, homeroom angel
Describing the girl as a heavenly figure, someone the singer admires and is drawn to.
Always pulled me from my seat
Suggesting that the singer was captivated by the girl and would become distracted by her presence.
She was pure like snowflakes
Describing the girl as innocent and untainted, someone the singer viewed positively.
No one could ever stain
Emphasizing the girl's purity and the singer's admiration for her.
The memory of my angel
Referring to the girl as an angel from his past, suggesting that he still thinks about her fondly.
Could never cause me pain
Expressing the idea that the singer's memories of the girl are a source of comfort rather than pain.
Years go by I'm lookin' through a girly magazine
Reflecting on the passage of time and the singer's transition from a high school student to an adult who looks at adult magazines.
And there's my homeroom angel on the pages in-between
Discovering that the girl he admired in high school is now featured as a centerfold model in the magazine.
My blood runs cold
A sudden physical response to the shock of recognizing someone from his past in an unexpected context.
My memory has just been sold
Feeling like his memories of the girl have been cheapened or diminished by seeing her as a centerfold model.
My angel is the centerfold
Stating plainly and directly that the girl he admired in high school is featured as a centerfold model in the magazine.
Slipped me notes under the desk
Recalling a time when the girl used to pass the singer notes in class, suggesting an earlier connection between them.
While I was thinkin' about her dress
Admitting to being preoccupied with the girl's appearance at the time, but also implying that there was more to their connection than physical attraction.
I was shy I turned away
Acknowledging that the singer was too nervous or shy to pursue a relationship with the girl at the time.
Before she caught my eye
Avoiding eye contact to avoid giving away his feelings or interest in the girl at the time.
I was shakin' in my shoes
Revealing the extent of the singer's nervousness around the girl he admired.
Whenever she flashed those baby-blues
Referring to the girl's blue eyes, which had a powerful effect on the singer.
Something had a hold on me
Suggesting that the singer felt a powerful attraction to the girl, which he was unable to resist or shake off.
When angel passed close by
Referring to the girl as an angel again, reinforcing the idea that the singer viewed her very positively.
Those soft and fuzzy sweaters
Recalling the girl's clothing and physical appearance, suggesting that the singer was very drawn to her.
Too magical to touch
Describing the girl's appearance as otherworldly and unattainable, something the singer could only admire from afar.
To see her in that negligee
Revealing that the picture of the girl in the magazine shows her in a revealing lingerie set, which is a shock to the singer.
Is really just too much
Expressing the idea that the singer is overwhelmed by seeing the girl in a sexualized context, which conflicts with his memories and feelings about her.
It's okay I understand
A reassurance to the girl that the singer isn't judging her or angry with her for posing as a centerfold model.
This ain't no never-neverland
Acknowledging the contrast between the singer's youthful fantasies and the reality of adult life and sexuality.
I hope that when this issue's gone
Hoping that the girl will be able to move on from being a centerfold model and find happiness in some other way.
I'll see you when your clothes are on
Expressing interest in seeing the girl as a person, rather than a sexual object, once she's no longer a centerfold model.
Take your car, yes we will
A suggestion that the singer and the girl go on a drive together, which could be construed as a sexual invitation.
We'll take your car and drive it
Repeating the idea that they will go for a drive together, and emphasizing the idea that it's the girl's car.
We'll take it to a motel room
Taking the sexual implications of the earlier invitation to the next level, suggesting that they will rent a room together.
And take 'em off in private
Referring to the clothes that they will remove, emphasizing the sexual nature of the invitation.
A part of me has just been ripped
Acknowledging the depth of the singer's feeling and connection to the girl, which is now partly defined by her centerfold model status.
The pages from my mind are stripped
Comparing the mental image of the girl to the centerfold pages, suggesting that his memories of her are now intertwined with her centerfold status.
Oh no, I can't deny it
Admitting to the singer's attraction to the girl, despite his conflicted feelings and memories about her.
Oh yeah, I guess I gotta buy it
Acknowledging that the singer will buy the magazine and keep looking at the picture of the girl, despite his conflicted feelings.
Lyrics © Kobalt Music Publishing Ltd.
Written by: Seth Justman
Lyrics Licensed & Provided by LyricFind