Originally founded as a skiffle group in Liverpool in 1959 by John McNally … Read Full Bio ↴Originally founded as a skiffle group in Liverpool in 1959 by John McNally and Mike Pender (Mike Prendergast), the band took their name from the classic 1956 John Wayne western The Searchers. Prendergast claims that the name was his idea, but McNally ascribes it to 'Big Ron' Woodbridge, their first lead singer. The issue remains unresolved.

The band grew out of an earlier skiffle group formed by McNally, with his friends Brian Dolan (guitar) and Tony West (bass). When the other two members lost interst McNally was joined by his guitarist neighbour Mike Prendergast. They soon recruited Tony Jackson with his home-made bass guitar and amplifier and styled themselves Tony and the Searchers with Joe Kelly on drums. Kelly soon left to be replaced by Norman McGarry and it is this line-up—McNally, Pender (as he soon became known), Jackson and McGarry—that is usually cited as the original foursome.

McGarry did not stay long, however, and in 1960 his place was taken by Chris Crummey (who later changed his name to Curtis). Later that year Big Ron had a successful audition with Mecca and became a ballroom singer. He was replaced by Billy Beck, who changed his name to Johnny Sandon. The band had regular bookings at Liverpool's Iron Door Club as Johnny Sandon and the Searchers.

Sandon left the band in late 1961 to join The Remo Four in February 1962. The group settled into a quartet sharing the vocal lead and billed simply as The Searchers. They continued to play at the Iron Door, The Cavern, and other Liverpool clubs. Like many similar acts they would do as many as three shows at different venues in one night. They negotiated a contract with the Star-Club in the St. Pauli district Hamburg for 128 days, with three one-hour performances a night, starting in July 1962.

The band returned to a residence, at the Iron Door Club and it was there that they tape recorded the sessions that led to a recording contract with Pye Records with Tony Hatch as producer.

Hatch played piano on some recordings and wrote "Sugar and Spice"—the band’s second number one record—under the pseudonym Fred Nightingale; a secret he kept from the band at the time.

After scoring their monumental hit "Needles and Pins", bassist Tony Jackson went solo and was replaced by Hamburg pal Frank Allen of Cliff Bennett and the Rebel Rousers.

Chris Curtis left the band in 1966 and was replaced by the Needles and Pins-influenced John Blunt, who in turn was replaced by Billy Adamson in 1970.

As musical styles evolved, the Searchers could not keep up and as a result, the hits ran out and while they continued to record for Liberty Records and RCA Records, ended up on the British "Chicken in a Basket" circuit although they did score a minor US hit in 1971 with "Desdemona".

The group continued to tour through the 1970s and were rewarded in 1979 when Sire Records signed the band to a multi-record deal. Two albums were released by them, The Searchers and Play for Today (retitled Love's Melodies outside the UK). Both records garnered great critical acclaim but did not break into the charts. They did however revitalize the group's career. According to John McNally, the band were ready to head into the studio to record a third album for Sire when they were informed that due to label reorganization, their contract had been dropped.

In 1981, the band signed to PRT Records (formerly Pye, their original label) and began recording an album but only one single, "I Don't Want To Be The One" backed with "Hollywood", saw the light of day at that time. The rest of the tracks would be released as part of 2004's 40th Anniversary collection.

Soon after the PRT release, Mike Pender left the group amidst great acrimony and now tours as Hollywood. McNally and Allan recruited former First Class vocalist Spencer James to fill Pender's shoes.

In 1988, Coconut Records signed The Searchers and the album Hungry Hearts was the result. A very contemporary sounding release, it featured modern sounding remakes of "Needles and Pins" and "Sweets For My Sweets". While the album was not a major hit, it did keep the group in the public eye.

The band continues to tour with Eddie Rothe replacing Adamson on drums and is considered to be one of the most popular 1960s bands on the UK concert circuit.

for more info see
http://en.wikipedia.org/wiki/The_Searchers_%28band%29

Hey Joe
The Searchers Lyrics

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Hey Joe!
Where'd ya find that pearly girlie
Where'd ya get that jolly dolly
How did ya rate that dish I wish was mine
Hey Joe!

She's got skin that's creamy dreamy
Eyes that look so lovey-dovey

Lips as red as cherry berry wine
Now listen Joe, I ain't no heel
But oh buddy let me tell you how I feel
She's a honey, she's a sugar pie
I'm warnin' you I'm gonna try to steal her from you
Hey Joe!
Though we've been the best of friends
This is where that friendship ends
I gotta have that dolly for my own.

(Hey Joe!)
(Hey Joe!)

Hey Joe!
Come on let's be buddy buddies
Show me you're my palsy-walsy
Introduce that pretty little chick to me
Hey Joe!

Quit that waitin', hesitatin'
Let me at 'er, what's the matter
You're as slow as any Joe can be
Now come on Joe let's make a deal
Let me dance with her to see if she is real
She's the cutest girl I've ever seen
An' I tell ya face to face I mean to steal her from you
Hey Joe!

We'll be friends until the end
But this looks like the end my friend
I gotta have that dolly for my own

I've gotta have that dolly for my own
(Hey Joe, Hey Joe)

Overall Meaning

The Searchers' song "Hey Joe" is a lively and upbeat tune about a man, Joe, who has caught the attention of the singer's desired lady. The song begins with the singer inquiring about the origins of the woman Joe is with, describing her as "pearly girlie" and "jolly dolly," and expressing their envy for her beauty. The singer then proceeds to make a plea to Joe to let them have a chance with the woman, claiming that despite their friendship, it has to come to an end if Joe won't let them have her. The chorus repeats the plea of "Hey Joe" and leads to a bridge that requests Joe to introduce the girl to him, emphasizing that Joe is hesitating, and the singer is impatient and must dance with the girl to fulfill their curiosity.

Interpreting the meaning of "Hey Joe" can have different opinions because it is a tune designed to be a catchy and fun song. The song seems like innocent fun banter between friends who want to pursue a woman. Still, some interpret this song's lyrics as an embodiment of masculinity and the concept of ownership over a woman's body. Regardless of the interpretation, it highlights the objectification of women in popular culture.

Line by Line Meaning

Hey Joe!
The singer greets Joe and starts to ask him about a girl he has seen.

Where'd ya find that pearly girlie
The singer wants to know where Joe met the girl as he finds her attractive.

Where'd ya get that jolly dolly
The singer is curious to know where Joe got the pretty girl from.

How did ya rate that dish I wish was mine
The artist is envious of Joe's relationship with the girl and wants to know Joe's opinion of her.

She's got skin that's creamy dreamy
The artist describes the girl's smooth complexion in a poetic manner.

Eyes that look so lovey-dovey
The singer characterizes the girl's eyes as affectionate, which excites him further.

Lips as red as cherry berry wine
The singer describes the girl's lips as being the color of red wine, which he finds attractive.

Now listen Joe, I ain't no heel
The artist wants to assure Joe that he does not intend to hurt him but is interested in pursuing the girl.

But oh buddy let me tell you how I feel
The artist wants to express to Joe that he feels strongly about the girl and his desire to be with her.

She's a honey, she's a sugar pie
The artist thinks that the girl is sweet and attractive.

I'm warnin' you I'm gonna try to steal her from you
The singer warns Joe that he is going to try and take the girl away from him.

Hey Joe!
The artist once again calls out to Joe to get his attention.

Though we've been the best of friends
The singer acknowledges that he and Joe have been close friends but admits that their relationship may be affected by the situation.

This is where that friendship ends
The singer believes that his pursuit of the girl may dissolve his friendship with Joe.

I gotta have that dolly for my own.
The singer is determined to pursue the girl and be with her.

(Hey Joe!)
The artist once again calls out to Joe, trying to persuade him to help him get the girl.

(Hey Joe!)
The artist repeats himself, still trying to get Joe's attention.

Hey Joe!
The singer again calls Joe's name, urging him to introduce him to the girl.

Come on let's be buddy buddies
The singer is pleading with Joe to act like friends and introduce him to the girl.

Show me you're my palsy-walsy
The artist wants Joe to demonstrate that they are close friends by helping him get to know the girl.

Introduce that pretty little chick to me
The artist requests Joe to introduce him to the girl in order to pursue a relationship.

Quit that waitin', hesitatin'
The artist wants Joe to stop delaying and introduce him to the girl without hesitation.

Let me at 'er, what's the matter
The singer is impatient and wants to meet the girl as soon as possible, wondering why Joe is delaying it.

You're as slow as any Joe can be
The artist is frustrated with Joe's slow pace in introducing him to the girl.

Now come on Joe let's make a deal
The singer suggests that he and Joe work out an agreement to both be able to pursue the girl.

Let me dance with her to see if she is real
The singer wants to see if he and the girl have a connection and requests Joe to let him dance with her to find out.

She's the cutest girl I've ever seen
The singer believes that the girl is extremely attractive and he is enamored by her.

An' I tell ya face to face I mean to steal her from you
The artist admits to Joe that he intends to take the girl away from him, stating that he will do so directly.

We'll be friends until the end
The artist affirms that he and Joe will always be friends, regardless of the girl.

But this looks like the end my friend
The singer acknowledges that their friendship may be at risk because of his pursuit of the girl.

I gotta have that dolly for my own
The singer reiterates his determination to be with the girl.

I've gotta have that dolly for my own
The artist restates his desire to pursue a relationship with the girl, emphasizing that he will do anything to get her.

(Hey Joe, Hey Joe)
The artist repeats Joe's name in a pleading way, still hoping to persuade him to help him.

Lyrics © O/B/O APRA AMCOS
Written by: Billy Roberts

Lyrics Licensed & Provided by LyricFind

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