His biggest hit was "In the Jailhouse Now," which charted for 37 weeks in 1955, 21 of them at number one. Pierce also charted number one for several weeks' each with his recordings of "Slowly" (1954), "Love, Love, Love" (1955), "I Don't Care" (1955), "There Stands the Glass" (1953), "More and More" (1954), "I Ain't Never" (1959), and his first number one "Wondering," which stayed at the top spot for four of its 27 weeks' charting in 1952.
For many, Pierce, with his flamboyant Nudie suits and twin silver dollar-lined convertibles, became the most recognizable face of country music of the era and its excesses. Pierce was a one-time member of the Grand Ole Opry and was posthumously inducted into the Country Music Hall of Fame.
Born in West Monroe, Louisiana in 1921, as a boy Pierce was infatuated with Gene Autry films and his mother's hillbilly records, particularly those of Jimmie Rodgers and Western swing and Cajun groups. He began to play guitar before he was a teenager and at 15 was given his own weekly 15-minute show, Songs by Webb Pierce, on KMLB-AM in Monroe.
He enlisted in the US Army, and in 1942 he married Betty Jane Lewis. After he was discharged, the couple moved to Shreveport, Louisiana, where Pierce worked in the men's department of a Sears Roebuck store. In 1947, the couple appeared on KTBS-AM's morning show as "Webb Pierce with Betty Jane, the Singing Sweetheart". Pierce also performed at local engagements, developing his unique style that was once described to be "a wailing whiskey-voiced tenor that wrang out every drop of emotion."
In 1949, California-based 4 Star Records signed the Webbs under separate contracts, with his wife signed for duets with her husband under the name Betty Jane and Her Boyfriends. However, success only came for Pierce, and in the summer of 1950, the couple divorced.
He moved to KWKH-AM and joined Louisiana Hayride during its first year and devised a plan to achieve instant "stardom." Before the show, he bought tickets for several young girls in line and asked them to sit in the first row, and after each of his songs to scream and beg for more. It worked; their enthusiasm spread throughout the audience.
Pierce assembled and performed with a band of local Shreveport musicians, including pianist Floyd Cramer, guitarist-vocalist Faron Young, bassist Tillman Franks and vocalists Teddy and Doyle Wilburn. He also founded a record label, Pacemaker; and Ark-La-Tex Music, a publishing company, with Horace Logan, the director of the Hayride. On Pacemaker, Pierce made several records between 1950 and 1951 designed to attract radio play around Louisiana.
In 1951, Pierce got out of his 4 Star contract and was quickly signed by Decca Records. His second single, "Wondering", became his breakthrough hit, climbing to No. 1 early in 1952. Pierce moved to Nashville, Tennessee where he met and married his second wife, Audrey Greisham. In June 1952, he had his second No. 1 single with "That Heart Belongs to Me".
In September 1953, the Grand Ole Opry needed to fill the vacancy left by the firing of Hank Williams, and Pierce was invited to join the cast. After Williams' death, he became the most popular singer in country music; for the next four years, every single he released hit the top ten, with ten reaching No. 1, including "There Stands the Glass" (1953), "Slowly" (1954), "More and More" (1954), and "In the Jailhouse Now" (1955). His singles spent 113 weeks at No. 1 during the 1950s, when he charted 48 singles. Thirty-nine reached the top ten, 26 reached the top four and 13 hit No. 1.
Other hits included "Back Street Affair", "Why Baby Why", "Oh, So Many Years", and "Finally"; the latter two being duets with Kitty Wells. His 1954 recording of "Slowly" was one of the first country songs to include a pedal steel guitar.[2] He made regular appearances on ABC-TV's Ozark Jubilee including as a guest host once a month during 1956. In 1958, he recorded a rockabilly record, "The New Raunchy"/"I'll Get by Somehow" for Decca under the name Shady Wall. (Shady Wall (1922–1985) was a member of the Louisiana House of Representatives and a banker from West Monroe. It is not known if Pierce knew the political Wall or merely made up the name for the record and was unaware of the actual Shady Wall.)
On February 19, 1957, Pierce resigned from the Opry after he refused to pay commissions on bookings and for associated talent.
Pierce continued charting until 1982 with a total of 96 hits; and he toured extensively and appeared in the movies Buffalo Guns, Music City USA, Second Fiddle To A Steel Guitar, and Road To Nashville.
As his music faded from the spotlight, Pierce became known for his excessive lifestyle. He had North Hollywood tailor Nudie Cohen, who had made flamboyant suits for Pierce, line two convertibles with silver dollars. He built a $30,000 guitar-shaped swimming pool at his Nashville home which became a popular paid tourist attraction—nearly 3,000 people visited it each week—causing his neighbors, led by singer Ray Stevens, to file suit and prevail against Pierce to end the tours.
He remained with Decca and its successor, MCA, well into the 1970s, but by 1977 he was recording for Plantation Records. Even though he had occasional minor hits, charting in a 1982 duet with Willie Nelson, a remake of "In the Jailhouse Now," he spent his final years tending to his businesses, and his legend became clouded due to his reputation as a hard drinker. Webb and daughter Debbie recorded the ballad "On My Way Out" as The Pierces, and she was a member of the Country group "Chantilly" in the early 1980s.
Pierce waged a long battle with pancreatic cancer, which he lost on February 24, 1991, and was buried in the Woodlawn Memorial Park Cemetery in Nashville.
Pierce has a star on the Hollywood Walk of Fame at 1600 Vine Street. He was inducted into the Country Music Hall of Fame in October 2001 and into the Louisiana Music Hall of Fame in 2008.
Caught In The Webb–a Tribute to the Legendary Webb Pierce was released on Audium Records in 2001. Produced and arranged by singer-songwriter Gail Davies, this album features Willie Nelson, Crystal Gayle, George Jones, Emmylou Harris, The Del McCoury Band, Charlie Pride, Allison Moorer, Dwight Yoakam, Pam Tillis, The Jordanaires and other great artists. Proceeds go to benefit The Minnie Pearl Cancer Foundation. Ms. Davies herself first charted in 1978 with "No Love Have I," a No. 26 Billboard Country hit that Pierce had recorded (and taken to No. 4) in 1959.
Footage of Pierce singing "There Stands the Glass" was featured in the 2005 documentary No Direction Home by Martin Scorsese about early influences on Bob Dylan. Pierce's hit single "More and More" was played in the title credits of 2006 horror film, The Hills Have Eyes.
Teenage Boogie
Webb Pierce Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A teenage boogie (hey hey)
A teenage boogie (ho ho)
A high schooly boogie (hey hey)
A hillbilly boogie (ho ho)
A teenage boogie (teenage boogie)
It's a teenage boogie on a Saturday night
Saturday night about eight o'clock
This old place begins to reel and rock
Everybody gathers from miles around
To hear them sing as they shuffle on down
A teenage boogie (teenage boogie)
It's a teenage boogie on a Saturday night
A teenage boogie (hey hey)
A teenage boogie (ho ho)
A high schooly boogie (hey hey)
A hillbilly boogie (ho ho)
A teenage boogie (teenage boogie)
It's a teenage boogie on a Saturday night
They ramble and they jamble till broad daylight
They sing and they jive and everything's right
A teenage boogie on a Saturday night
A high schooly boogie makes everything right
A teenage boogie (teenage boogie)
It's a teenage boogie on a Saturday night
A teenage boogie (hey hey)
A teenage boogie (ho ho)
A high schooly boogie (hey hey)
A hillbilly boogie (ho ho)
A teenage boogie (teenage boogie)
It's a teenage boogie on a Sat-ur-day night
The song "Teenage Boogie" by Webb Pierce is an upbeat and catchy tune that celebrates the joy and energy of young people dancing and having a good time on a Saturday night. The lyrics describe a scene where people from all around come together in one place, likely a dance hall or club, to move to the rhythm of the music. The repetition of the phrase "teenage boogie" and the use of onomatopoeia ("hey hey", "ho ho") creates a feeling of excitement and enthusiasm.
The lyrics also reference different styles of music, such as "high schooly boogie" and "hillbilly boogie", which were popular genres in the 1950s. The use of these categories shows how music was a defining factor in youth culture at the time and how young people bonded over the music they loved. The last line of the song, "a high schooly boogie makes everything right", suggests that dancing and music could provide an escape from the pressures and challenges of the teenage years.
Overall, "Teenage Boogie" is a fun and simple song that captures the spirit and energy of youth culture in the 1950s. Its catchy refrain and celebratory lyrics make it a classic example of early rock and roll music.
Line by Line Meaning
Well, it's a teenage boogie on a Saturday night
This is a song about a specific type of dance party that happens on Saturday nights and is enjoyed specifically by teenagers.
A teenage boogie (hey hey)
The type of dance being referenced in the song is called a 'teenage boogie.'
A teenage boogie (ho ho)
A high schooly boogie (hey hey)
This type of dance is commonly associated with high school students.
A hillbilly boogie (ho ho)
The type of dance is reminiscent of a certain style of country music associated with rural America.
A teenage boogie (teenage boogie)
It's a teenage boogie on a Saturday night
The song repeats the main idea, emphasizing that this dance primarily occurs on Saturdays and is done by teenagers.
Saturday night about eight o'clock
The song sets the scene, showing time of day (8 pm) and day of the week (Saturday).
This old place begins to reel and rock
The dance floor starts to move and shake in time with the music.
Everybody gathers from miles around
People come from far and wide to attend this dance party.
To hear them sing as they shuffle on down
The dance involves a lot of shuffling and singing along with the music.
A teenage boogie (teenage boogie)
It's a teenage boogie on a Saturday night
They ramble and they jamble till broad daylight
The partygoers dance and socialize until the early hours of the morning when the sun comes up.
They sing and they jive and everything's right
The music and atmosphere make everyone feel good and happy.
A teenage boogie on a Saturday night
A high schooly boogie makes everything right
The dance party is a way for young people to enjoy themselves and let loose, forgetting about their worries and problems.
A teenage boogie (teenage boogie)
It's a teenage boogie on a Sat-ur-day night
Lyrics © Universal Music Publishing Group
Written by: WEBB PIERCE
Lyrics Licensed & Provided by LyricFind
@TheDisasterGamer
Well, it's a teenage boogie on a Saturday night
A teenage boogie (hey hey)
A teenage boogie (ho ho)
A high schooly boogie (hey hey)
A hillbilly boogie (ho ho)
A teenage boogie (teenage boogie)
It's a teenage boogie on a Saturday night
Saturday night about eight o'clock
This old place begins to reel and rock
Everybody gathers from miles around
To hear them sing as they shuffle on down
A teenage boogie (teenage boogie)
It's a teenage boogie on a Saturday night
A teenage boogie (hey hey)
A teenage boogie (ho ho)
A high schooly boogie (hey hey)
A hillbilly boogie (ho ho)
A teenage boogie (teenage boogie)
It's a teenage boogie on a Saturday night
They ramble and they jamble till broad daylight
They sing and they jive and everything's right
A teenage boogie on a Saturday night
A high schooly boogie makes everything right
A teenage boogie (teenage boogie)
It's a teenage boogie on a Saturday night
A teenage boogie (hey hey)
A teenage boogie (ho ho)
A high schooly boogie (hey hey)
A hillbilly boogie (ho ho)
A teenage boogie (teenage boogie)
It's a teenage boogie on a Sat-ur-day night
@frankchilds9848
What a wonderful gem 💎. Webb was well past his teenage years, but he had the wherewithal to do a song like this, got to respect his spirit!
@glennjohnson8170
Glenn Johnson As a big rockabilly and western fan this is the definitive version.Always loved Webb Pierce.I also like T.Rex but how it missed copyright infringement back in the 70`s!!Look what happened to "My sweet Lord"and "He`s so fine",court judge ruled George Harrison payment to the song`s writers.Anyhow,another way of looking at it today,i see Marc Bolan just tipping his hat to the music he grew up with.He must have loved the tune.Imitation is the sincerest form of flattery.Many thanks.
@eddieflytrap171
From what I understand, Webb actually did sue Marc over this and it was settled out of court. Like a few others, Marc not only borrowed the melody of the song, but much of the lyrics as well. I actually have a boot recording where Marc puts the Webb Pierce song on a record player, listens to it, then does an acoustic demo of I Love To Boogie. I especially like one of the U.K. tv performances where T.Rex nail Webb's sound on this song perfect. Right down to a brilliant solo on keyboards that perfectly duplicates the steel guitar bit on Webb's version. I've heard a number of versions of this song. Love them all. Other songs Marc borrowed from include Howlin' Wolf's "You'll Be Mine" which became Jeepster (borrowed some lyrics in that case as well), Get It On - main riff from Chuck Berry's Little Queenie, Chorus from an old sixties song called Turn In On... by a band called The Skeptics, Monolith is Gene Chandler's Duke Of Earl, Hot Love - At The Hop slowed down... Mind you... Elton John's Crocodile Rock was note for note Pat Boone's Speedy Gonzalez - right down to the La La La bits, and D'Yer Mak'er was Angel Baby by Rosie & The Originals... So many examples.
@glennjohnson8170
@@eddieflytrap171 Hi Eddie.Thanks for this info!Yes,now i can hear "At the hop" in "Hot Love".So,Webb did sue out of court.That`s set the record straight and thanks a lot.
@eddieflytrap171
Hi Glenn, yeah, and Dandy In The Underworld is the old Five Satins song In The Still Of The Night, Visions Of Domino is Funky London Childhood which is John Lee Hooker's Boogie Chillen', Hang Ups is The old Elvis classic "Feel So Bad", Groove A Little Is Chuck Berry's Memphis Tennessee, Baby Boomerang is Don't Be Cruel... Loads of classic 50's music influences on Marc and his entire generation of musical peers. John Lennon was sued by Chuck Berry over Come Together which lifted music and lyrics from Chuck's Maybelline. @@glennjohnson8170
@glennjohnson8170
@@eddieflytrap171 There you go!So many to list.Makes all this musical history so interesting,without doubt.Thanks for all this info. Glenn.
@ilovesmysangsomsangsom3500
@@eddieflytrap171 Lennon never lifted the Music or Lyrics to Maybelline, it was another Chuck Berry Song You Can’t Catch Me……
@audiophilenick
this is a great record...great rockin rockabilly sound.
@michaelmoon2756
so THAT'S where Marc Bolan got it from !...........first heard this in '56!
@sandsoftime1954
michael moon This is about the 3rd. time I've heard this song and the connection just came to me. You're right on the money. After all We all love to Boogie, too.