The Spaniels were an American R&B doo-wop group, best known for the hit "Go… Read Full Bio ↴The Spaniels were an American R&B doo-wop group, best known for the hit "Goodnite, Sweetheart, Goodnite".
They have been called the first successful Midwestern R&B group. Some historians of vocal groups consider Pookie Hudson to be the first true leader of a vocal group, because the Spaniels pioneered the technique of having the main singer solo at his own microphone, while the rest of the group shared a second microphone.
The original members included:
Thornton James "Pookie" Hudson (June 11, 1934 – January 16, 2007)
Ernest Warren (December 2, 1933 - May 7, 2012)
Willie C. Jackson (died February 18, 2015; aged 79)
Opal Courtney, Jr. (November 22, 1936 – September 18, 2008)
Gerald Gregory (died February 12, 1999)
The group debuted in late 1952 at Roosevelt High School in Gary, Indiana as Pookie Hudson & The Hudsonaires. They changed their name to The Spaniels that spring and, upon graduation, became one of the first two artists to sign with Vee-Jay Records, the first large, independent Afro-American owned record label. The group recorded their initial release, "Baby It's You" on May 5, 1953. Released in July, the song reached #10 on Billboard's R&B chart on September 5, 1953.
In Spring 1954, "Goodnight Sweetheart, Goodnight" hit number twenty-four on Variety's pop chart, and rose to number five on Billboard's R&B chart. The Spaniels played regularly at the Apollo, The Regal and other large theaters on the Chitlin circuit.
The line-up changed numerous times over the ensuing years.
The Spaniels were the top selling vocal group for Vee Jay. The band broke up when the label went bankrupt in 1966, but in 1969, the group reformed, releasing hits like "Fairy Tales" in 1970. An entire new generation was exposed to the group's music when "Goodnight Sweetheart, Goodnight" was featured prominently in the movies, American Graffiti and Three Men and a Baby.
Two Spaniels groups later performed simultaneously: one in Washington, D.C., and the original group still based in Gary.
The D.C. based group, with Pookie Hudson and Joe Herndon, appeared on the PBS special, Doo Wop 50.
Hudson died in Capitol Heights, Maryland on January 16, 2007, after a lengthy battle with cancer, at the age of 72.
Courtney, Jr. died on September 18, 2008 at the age of 71, after suffering a heart attack.
Ernest Warren died on May 7, 2012 in Gary, Indiana, at the age of 78.
Willie C. Jackson died of a rare lung disease on February 18, 2015, at the age of 79.
-----------
When you go back to the great early days of group harmony history, you find so many great groups and so much great talent. Many of the originator groups came out of New York or Los Angeles and a few came out of the Midwest via Chicago. Maybe the finest group to hail from the Windy City area (Gary, Indiana, actually) were the Spaniels with legendary lead man Pookie Hudson. They were a truely innovative group. Many group harmony historians say that the Spaniels were the first group with a true lead singer - as Pookie would sing behind one microphone and the rest of the group around a second. And their music has prevailed to this day as a great example of the early days of R&B and is a great example of all the talent that abounded during those terrific early years.
James "Pookie" Hudson has been singing since he was 8 years old. His early influences were groups like the Charioteers, the Mills Brothers and the Ink Spots. "Then along came Sonny Til and the Orioles," Pookie recalls, "and the music kind of changes at that point." At the age of 13, he started singing at church when a friend named Billy Shelton asked him to join the choir. Pookie, Billy and a third guy named Calvin Fox would later form their own group called the Three Bees singing gospel and contemporary songs. They added a fourth member - William Dooley and they became the Four Bees. The other three members graduated before Pookie. Meanwhile, four other guys from Roosevelt High School in Gary, Indiana, Ernest Warren (first tenor), Opal Courtney, Jr. (baritone), Willie Jackson (second tenor), and Gerald Gregory (bass) started hanging out and singing together. These four later approached Pookie - a fellow classmate - to sing with them. One of their first performances was a Christmas talent show where they performed a song called I Will Wait as Pookie Hudson and the Hudsonaires. That was 1952.
Liking what they heard, the guys continued singing together. But being the modest kind of guy that he is, Pookie didn't like the idea of his name being out front of the group. So the group decided it needed a new name. They were practicing one day when they asked bass man Gregory's new wife her opinion of their sound. As Pookie recalls, this was a mistake," for she commented that they sounded like a bunch a dogs! Ha! From that, the group decided to name themselves the Spaniels rather than go with what everyone else was doing at the time - a bird name group!
It was not until 1953 that the group was actually discovered. They visited a couple - James Bracken and Vivian Carter Bracken - who were working for the local Chicago radio station WWCA. The Bracken's liked what they heard from the group and decided to make them the first group on a new label they were starting. They named their label Vee Jay (after the initials of their first names). Pookie recalls that they really didn't even realize that it was all about - they had just seen how "people had been carrying on about artists" so they were very excited about recording. In May of that year, the Bracken's recorded the group doing Baby It's You b/w Bounce (Vee Jay 101) which was released in July of 1953. Baby Its You is a little jump number which some say was copied by later groups in some of their own recordings. The song would later hit number 10 on the national R&B charts.
The group went back into the studio at Vee Jay and recorded their follow up record Bells Ring Out. It was not a successful. Amazing as it sounds today, Pookie says that despite the regional success of these records, the group's members were still working day jobs like in the Midwest steel mills while performing on the weekends. In the spring of 1954, the group recorded a song written by Pookie. Pookie describes how he used to hang out at his girlfriend Bonnie Jane Davis' house into the wee hours of the evening. Around Midnight, her mother would eventually tell Pookie to go home saying "your Momma might not care about you being out at twelve o'clock at night but she didn't mean you to be here!" On his way home from those visits, Pookie penned the now famous Goodnight Sweetheart Goodnight. Pookie says that the group really didn't want to do the song - they thought it was just a "little silly song" sort of like a nursey rhyme (funny they should think that as the song was used for just that purpose in the 1980's film Three Men and a Baby). But the Bracken's insisted and the group relented. Thank goodness for that! Upon its release by Vee Jay, the group had a big hit reaching number 5 on the national R&B charts. It was covered by 8 other groups as well at the time many of which also had major success with it including the McGuire Sisters whose version went to number 7 on the national charts! When asked if this bothered them, another group taking their record and having success with it, Pookie replies that "we didn't understand the consequences of other groups covering our record. And it was at a time when black music wasn't played on white stations." Alan Freed, probably realizing just how great a song it was, wanted to add his name to the record. Pookie rightfully refused and as a result Freed never played that or any other Spaniels records and they never played any of his shows.
The group's next effort for Vee Jay was Let's Make Up followed in May 1955 by Do Wah and You Painted Pictures. That last record reached number 13 on the R&B charts. At that point, Courtney was drafted and was replaced by Cal Carter and eventually James "Dimples" Cochran. Ernest Warren was later drafted and the group went forward as a foursome. At that point, with a wife and a baby and not that much money coming in from singing, Pookie would leave the group for a year and would spend the time working for a company named General America making railroad box cars! At night, after work, Pookie would lay staring at the night sky and it was during this time that he was inspired to write Peace of Mind. After a year, Pookie returned and they recorded that great tune along with the Otis Blackwell tune Please Don't Tease, Tina and Stormy Weather. And the Spaniels were back.
As for their times on the road, Pookie recalls some of the problems encountered by a Black group travelling throughout the still segregated United States, especially the South. "We were pulled over by the police and intimated because our car license plates would show that we were from Illinois." It didn't help that they had the name of their group on the side of the bus. Being the segregated 1950's, the group was not allowed to stay in all-white hotels and find itself sleeping in the bus or in the home of Black families that would take them in. Still, the group had some memorable performances at places like the famous Apollo Theatre where they were a staple for many years. In fact, the Spaniels were on the very same tour as Buddy Holly, Ritchie Valens and the Big Bopper on the Day the Music Died in February of 1959. The three had split off to do their fateful separate show. The Spaniels continued on the tour with Frankie Lymon, the Drifters, LaVern Baker, Paul Anka, and many other artists. Pookie remembers: "the Flamingos, the Drifters....we all became close friends. We weren't really into the White acts....we didn't understand their music...it was whole lot different. Even though people were trying to tell us it was the same, it definitely wasn't the same." "We were really doing it for the love it....we didn't get rich doing it," recalls Pookie. As for the emergence of Rock and Roll in the later 1950's, Pookie says that "all they did was change the name of it...of what we started...."
In 1958, the Spaniels were in Washington, DC performing at the Howard Theatre when they met a gospel group called the Nightingales. The Nightingales had a song they were interested in recording but because they song had suggestive lyrics (at least suggestive for the times) and they were a gospel group, they simply couldn't do it. They sang it for the Spaniels and asked them if they were interested in it. They took it back to Vee Jay records and sang it for them. Vee Jay passed because they thought it was too suggestive. The song? The Twist which as we all know was recorded by Hank Ballard and then by Chubby Checker. While it was probably a mistake to pass that record up, Pookie states that they probably would not have when into recording the song with the right frame of mind because they did not envision it being a dance record. It may have been another song if the Spaniels had done it.
In 1960, Ernest Warren rejoined the group which was now Pookie, Warren, Gerald Gregory, Bill Carey, and Andy McGruder (who had sang lead with the Five Blue Notes). It was this formation of the group that recorded the last Vee Jay side - I Know in 1960. Pookie did some solo work with Little Anthony's Imperials backing him up in 1962 and Pookie Hudson and the Spaniels recorded for Parkway records in 1962 doing the snappy little number John Brown. There were two records released in the early 1970's under the name of the Spaniels. This group consisted of Pookie, Charles Douglas (first tenor), Alvin Wheeler (second tenor), Alvin Lloyd (baritone), and Pete Simmons (bass). It was this group that did the remake of Goodnight Sweetheart Goodnight that was released in 1973 on Buddah. The group had one last record on Canterbury in 1974 doing a remake of Peace of Mind.
They have been called the first successful Midwestern R&B group. Some historians of vocal groups consider Pookie Hudson to be the first true leader of a vocal group, because the Spaniels pioneered the technique of having the main singer solo at his own microphone, while the rest of the group shared a second microphone.
The original members included:
Thornton James "Pookie" Hudson (June 11, 1934 – January 16, 2007)
Ernest Warren (December 2, 1933 - May 7, 2012)
Willie C. Jackson (died February 18, 2015; aged 79)
Opal Courtney, Jr. (November 22, 1936 – September 18, 2008)
Gerald Gregory (died February 12, 1999)
The group debuted in late 1952 at Roosevelt High School in Gary, Indiana as Pookie Hudson & The Hudsonaires. They changed their name to The Spaniels that spring and, upon graduation, became one of the first two artists to sign with Vee-Jay Records, the first large, independent Afro-American owned record label. The group recorded their initial release, "Baby It's You" on May 5, 1953. Released in July, the song reached #10 on Billboard's R&B chart on September 5, 1953.
In Spring 1954, "Goodnight Sweetheart, Goodnight" hit number twenty-four on Variety's pop chart, and rose to number five on Billboard's R&B chart. The Spaniels played regularly at the Apollo, The Regal and other large theaters on the Chitlin circuit.
The line-up changed numerous times over the ensuing years.
The Spaniels were the top selling vocal group for Vee Jay. The band broke up when the label went bankrupt in 1966, but in 1969, the group reformed, releasing hits like "Fairy Tales" in 1970. An entire new generation was exposed to the group's music when "Goodnight Sweetheart, Goodnight" was featured prominently in the movies, American Graffiti and Three Men and a Baby.
Two Spaniels groups later performed simultaneously: one in Washington, D.C., and the original group still based in Gary.
The D.C. based group, with Pookie Hudson and Joe Herndon, appeared on the PBS special, Doo Wop 50.
Hudson died in Capitol Heights, Maryland on January 16, 2007, after a lengthy battle with cancer, at the age of 72.
Courtney, Jr. died on September 18, 2008 at the age of 71, after suffering a heart attack.
Ernest Warren died on May 7, 2012 in Gary, Indiana, at the age of 78.
Willie C. Jackson died of a rare lung disease on February 18, 2015, at the age of 79.
-----------
When you go back to the great early days of group harmony history, you find so many great groups and so much great talent. Many of the originator groups came out of New York or Los Angeles and a few came out of the Midwest via Chicago. Maybe the finest group to hail from the Windy City area (Gary, Indiana, actually) were the Spaniels with legendary lead man Pookie Hudson. They were a truely innovative group. Many group harmony historians say that the Spaniels were the first group with a true lead singer - as Pookie would sing behind one microphone and the rest of the group around a second. And their music has prevailed to this day as a great example of the early days of R&B and is a great example of all the talent that abounded during those terrific early years.
James "Pookie" Hudson has been singing since he was 8 years old. His early influences were groups like the Charioteers, the Mills Brothers and the Ink Spots. "Then along came Sonny Til and the Orioles," Pookie recalls, "and the music kind of changes at that point." At the age of 13, he started singing at church when a friend named Billy Shelton asked him to join the choir. Pookie, Billy and a third guy named Calvin Fox would later form their own group called the Three Bees singing gospel and contemporary songs. They added a fourth member - William Dooley and they became the Four Bees. The other three members graduated before Pookie. Meanwhile, four other guys from Roosevelt High School in Gary, Indiana, Ernest Warren (first tenor), Opal Courtney, Jr. (baritone), Willie Jackson (second tenor), and Gerald Gregory (bass) started hanging out and singing together. These four later approached Pookie - a fellow classmate - to sing with them. One of their first performances was a Christmas talent show where they performed a song called I Will Wait as Pookie Hudson and the Hudsonaires. That was 1952.
Liking what they heard, the guys continued singing together. But being the modest kind of guy that he is, Pookie didn't like the idea of his name being out front of the group. So the group decided it needed a new name. They were practicing one day when they asked bass man Gregory's new wife her opinion of their sound. As Pookie recalls, this was a mistake," for she commented that they sounded like a bunch a dogs! Ha! From that, the group decided to name themselves the Spaniels rather than go with what everyone else was doing at the time - a bird name group!
It was not until 1953 that the group was actually discovered. They visited a couple - James Bracken and Vivian Carter Bracken - who were working for the local Chicago radio station WWCA. The Bracken's liked what they heard from the group and decided to make them the first group on a new label they were starting. They named their label Vee Jay (after the initials of their first names). Pookie recalls that they really didn't even realize that it was all about - they had just seen how "people had been carrying on about artists" so they were very excited about recording. In May of that year, the Bracken's recorded the group doing Baby It's You b/w Bounce (Vee Jay 101) which was released in July of 1953. Baby Its You is a little jump number which some say was copied by later groups in some of their own recordings. The song would later hit number 10 on the national R&B charts.
The group went back into the studio at Vee Jay and recorded their follow up record Bells Ring Out. It was not a successful. Amazing as it sounds today, Pookie says that despite the regional success of these records, the group's members were still working day jobs like in the Midwest steel mills while performing on the weekends. In the spring of 1954, the group recorded a song written by Pookie. Pookie describes how he used to hang out at his girlfriend Bonnie Jane Davis' house into the wee hours of the evening. Around Midnight, her mother would eventually tell Pookie to go home saying "your Momma might not care about you being out at twelve o'clock at night but she didn't mean you to be here!" On his way home from those visits, Pookie penned the now famous Goodnight Sweetheart Goodnight. Pookie says that the group really didn't want to do the song - they thought it was just a "little silly song" sort of like a nursey rhyme (funny they should think that as the song was used for just that purpose in the 1980's film Three Men and a Baby). But the Bracken's insisted and the group relented. Thank goodness for that! Upon its release by Vee Jay, the group had a big hit reaching number 5 on the national R&B charts. It was covered by 8 other groups as well at the time many of which also had major success with it including the McGuire Sisters whose version went to number 7 on the national charts! When asked if this bothered them, another group taking their record and having success with it, Pookie replies that "we didn't understand the consequences of other groups covering our record. And it was at a time when black music wasn't played on white stations." Alan Freed, probably realizing just how great a song it was, wanted to add his name to the record. Pookie rightfully refused and as a result Freed never played that or any other Spaniels records and they never played any of his shows.
The group's next effort for Vee Jay was Let's Make Up followed in May 1955 by Do Wah and You Painted Pictures. That last record reached number 13 on the R&B charts. At that point, Courtney was drafted and was replaced by Cal Carter and eventually James "Dimples" Cochran. Ernest Warren was later drafted and the group went forward as a foursome. At that point, with a wife and a baby and not that much money coming in from singing, Pookie would leave the group for a year and would spend the time working for a company named General America making railroad box cars! At night, after work, Pookie would lay staring at the night sky and it was during this time that he was inspired to write Peace of Mind. After a year, Pookie returned and they recorded that great tune along with the Otis Blackwell tune Please Don't Tease, Tina and Stormy Weather. And the Spaniels were back.
As for their times on the road, Pookie recalls some of the problems encountered by a Black group travelling throughout the still segregated United States, especially the South. "We were pulled over by the police and intimated because our car license plates would show that we were from Illinois." It didn't help that they had the name of their group on the side of the bus. Being the segregated 1950's, the group was not allowed to stay in all-white hotels and find itself sleeping in the bus or in the home of Black families that would take them in. Still, the group had some memorable performances at places like the famous Apollo Theatre where they were a staple for many years. In fact, the Spaniels were on the very same tour as Buddy Holly, Ritchie Valens and the Big Bopper on the Day the Music Died in February of 1959. The three had split off to do their fateful separate show. The Spaniels continued on the tour with Frankie Lymon, the Drifters, LaVern Baker, Paul Anka, and many other artists. Pookie remembers: "the Flamingos, the Drifters....we all became close friends. We weren't really into the White acts....we didn't understand their music...it was whole lot different. Even though people were trying to tell us it was the same, it definitely wasn't the same." "We were really doing it for the love it....we didn't get rich doing it," recalls Pookie. As for the emergence of Rock and Roll in the later 1950's, Pookie says that "all they did was change the name of it...of what we started...."
In 1958, the Spaniels were in Washington, DC performing at the Howard Theatre when they met a gospel group called the Nightingales. The Nightingales had a song they were interested in recording but because they song had suggestive lyrics (at least suggestive for the times) and they were a gospel group, they simply couldn't do it. They sang it for the Spaniels and asked them if they were interested in it. They took it back to Vee Jay records and sang it for them. Vee Jay passed because they thought it was too suggestive. The song? The Twist which as we all know was recorded by Hank Ballard and then by Chubby Checker. While it was probably a mistake to pass that record up, Pookie states that they probably would not have when into recording the song with the right frame of mind because they did not envision it being a dance record. It may have been another song if the Spaniels had done it.
In 1960, Ernest Warren rejoined the group which was now Pookie, Warren, Gerald Gregory, Bill Carey, and Andy McGruder (who had sang lead with the Five Blue Notes). It was this formation of the group that recorded the last Vee Jay side - I Know in 1960. Pookie did some solo work with Little Anthony's Imperials backing him up in 1962 and Pookie Hudson and the Spaniels recorded for Parkway records in 1962 doing the snappy little number John Brown. There were two records released in the early 1970's under the name of the Spaniels. This group consisted of Pookie, Charles Douglas (first tenor), Alvin Wheeler (second tenor), Alvin Lloyd (baritone), and Pete Simmons (bass). It was this group that did the remake of Goodnight Sweetheart Goodnight that was released in 1973 on Buddah. The group had one last record on Canterbury in 1974 doing a remake of Peace of Mind.
Goodnight Sweetheart Goodnight
The Spaniels Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Goodnight, sweetheart
Well, it's time to go
Goodnight, sweetheart
Well, it's time to go
I hate to leave you, but I really must say
Oh, goodnight, sweetheart, goodnight
Goodnight, sweetheart
Well, it's time to go
Goodnight, sweetheart
Well, it's time to go
I hate to leave you, but I really must say
Oh, goodnight, sweetheart, goodnight
Well it's three o'clock in the mornin'
Baby, I just can't do right
Well, I hate to leave you, baby
I don't mean maybe
Because I love you so
Goodnight, sweetheart
Well, it's time to go
Goodnight, sweetheart
Well, it's time to go
I hate to leave you, I really must say
Oh, goodnight, sweetheart, goodnight
Mother, and, oh, your father
Won't like it if I stay too long
Well, a kissing darling and I'll be going
You know I hate to go
Goodnight, sweetheart
Well, it's time to go
Goodnight, sweetheart
Well, it's time to go
I hate to leave you, I really must say
Oh, goodnight, sweetheart, goodnight
Well, it's time to go
Goodnight, sweetheart
Well, it's time to go
I hate to leave you, but I really must say
Oh, goodnight, sweetheart, goodnight
Goodnight, sweetheart
Goodnight, sweetheart
Well, it's time to go
I hate to leave you, but I really must say
Oh, goodnight, sweetheart, goodnight
Well it's three o'clock in the mornin'
Baby, I just can't do right
Well, I hate to leave you, baby
I don't mean maybe
Because I love you so
Goodnight, sweetheart
Well, it's time to go
Goodnight, sweetheart
Well, it's time to go
I hate to leave you, I really must say
Oh, goodnight, sweetheart, goodnight
Mother, and, oh, your father
Won't like it if I stay too long
Well, a kissing darling and I'll be going
You know I hate to go
Goodnight, sweetheart
Well, it's time to go
Goodnight, sweetheart
Well, it's time to go
I hate to leave you, I really must say
Oh, goodnight, sweetheart, goodnight
The Spaniels' song Goodnight Sweetheart, Goodnight is a classic doo-wop song that describes the farewell between a young couple at three o'clock in the morning. The repeated chorus of "Goodnight, sweetheart, well it's time to go/I hate to leave you but I really must say/Oh, goodnight, sweetheart, goodnight" emphasizes the feelings of longing and regret that both the singer and his lover feel as they part ways. The first verse and chorus establish the tone and mood of the song, with the second verse giving us a sense of why the singer must leave - he can't do right at three o'clock in the morning. The song's third verse adds a melancholic twist by mentioning the parents who won't like it if he stays too long. The song ends with the final chorus, where both the singer and his lover bid each other farewell, but not before professing their love for each other.
The song is an example of doo-wop, a style of rhythm and blues/Fifties rock and roll vocal music that was popular in the 1950s and early 1960s. It is characterized by its use of tight harmonies, nonsense syllables, and repetitive chord progressions. Goodnight Sweetheart, Goodnight was one of the early doo-wop hits that helped establish the genre. The song was released in 1954 and became a top ten hit on both the R&B and pop charts. It has since become a timeless classic, covered by many different artists and used in various movies, TV shows, commercials, and other media.
Line by Line Meaning
Goodnight, sweetheart
Saying goodbye to the person he loves
Well, it's time to go
It's getting late and he needs to leave
Goodnight, sweetheart
Repeating his farewell to emphasize his departure
Well, it's time to go
Reemphasizing his need to leave
I hate to leave you, but I really must say
Admitting his reluctance to say goodbye
Oh, goodnight, sweetheart, goodnight
Final farewell to his beloved
Well it's three o'clock in the mornin'
Indicating late hour of the night
Baby, I just can't do right
Expressing his inability to stay longer
Well, I hate to leave you, baby
Reiterating his reluctance to leave
I don't mean maybe
Asserting his sincerity
Because I love you so
Reason for his reluctance to leave
Mother, and, oh, your father
Referring to parental disapproval of his presence
Won't like it if I stay too long
Acknowledging their expectations and concerns
Well, a kissing darling and I'll be going
Hinting at a romantic farewell
You know I hate to go
Affirming his reluctance to leave
Goodnight, sweetheart
Final goodbye to the person he loves
Well, it's time to go
Reiteration of his need to leave
Goodnight, sweetheart
Final farewell to emphasize his departure
Well, it's time to go
Final reiteration of his need to leave
I hate to leave you, I really must say
Final admission of his reluctance to say goodbye
Oh, goodnight, sweetheart, goodnight
Final farewell to his beloved
Lyrics © BMG Rights Management
Written by: Calvin Carter, Thornton James Hudson
Lyrics Licensed & Provided by LyricFind
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Marlene Hurley
This brings back so many great memories!!! Played as the last dance of the evening too!!!! Everyone headed for the dance floor when they heard it!! 🥰🥰♥️👌
Katherine Gates
🥰 Yes so true...We all had a race to the floor.😘 The happy memories will stay in our hearts Forever....💞
Robert Degrandis
@Katherine Gates Yes they will, for ever.
Donna L. Palmer
Oh Marlene I remember those great memories the last dance always.
Elle Dubbew
I played this on Facebook. Lol
Honey_bee
Doesn't bring me good memories
Seven
Memories of when my mum sung me this to sleep just came flooding back 🥺
William Spencer
If I was a DJ I would use this as my sign off piece
Guy Karafa
Just a college radio show , but always used this to end my show at midnight! Classic
Idiot- 983
Always end with a slow dance. I won't say why. LOL