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Tamla T 5501 (A), August 1959
b/w Cool And Crazy
(Written by Johnny Ferro)
Motown’s first white act, although not their first white signing – this single was a pre-recorded one-shot deal – “Nick” was drummer Nick Ferro, and the Jaguars were guitarists Marvin Weyer and songwriter Johnny Ferro.
This is a complete oddity, a two and half minute instrumental rocker with a couple of mad changes of tempo and some ferocious rhythm guitar. It has about as much to do with Motown as this site about plant potting. It’s quite impressive in its exuberance and energy, but the opening shout of “ICH-I-BON! Num-berrr-One!” is irritating in the extreme, and it doesn’t really end up going anywhere (it just fades out mid-thrash at the 2:25 mark).
Supposedly a response to Tequila by the Champs, I can’t hear it at all; the liner notes to The Complete Motown Singles: Volume 1 have it closer to the mark when they call this “proto-surf rock” and namecheck Dick Dale. More than anything else, it serves to illustrate just how widely Berry Gordy would cast his net if he thought there was a hit to be had out of it.
This time, there wasn’t. Perhaps unsurprisingly, this complete commercial curveball baffled black radio, confused consumers, sold bog-all copies and is now one of early Motown’s rarer curios.
MOTOWN JUNKIES VERDICT
(I’ve had MY say, now it’s your turn. Agree? Disagree? Leave a comment, or click the thumbs at the bottom there. Dissent is encouraged!)
You’re reading Motown Junkies, an attempt to review every Motown A- and B-side ever released. Click on the “previous” and “next” buttons below to go back and forth through the catalogue, or visit the Master Index for a full list of reviews so far.
(Or maybe you’re only interested in Nick & The Jaguars? Click for more.)
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Nick & The Jaguars “Cool And Crazy” |
Motown Junkies 
Berry and Raynoma Gordy may have produced another record by a “Caucasian” rock instrumental group in their operation of Ray-Ber Music in early 1959: The Biscaynes’ record on Ridge Records. To me, those 2 cuts sound very like Nick and The Jaguars. Maybe they were the same group or some related precursor? I can’t remember for sure, but I seem to remember that the music publisher was Jobete Music.
Perhaps that record was on Ridge Records, rather than Ray-Ber Records, because The Biscaynes had a benefactor who paid for the record’s press run, or perhaps Gordy “placed” the record with someone to finance it, and who wanted his own label name?
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Interesting stuff, as always.
Don McKenzie, another Motown one-and-done act, also had a single out on Ridge, as well as a different single on a label called Circus Records.
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Wow! I didn’t know about Don McKenzie’s record on Ridge. I wonder if Berry Gordy or Ray-Ber Music had anything to do with that one?
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Almost certainly there was *some* connection, though the nature of that connection isn’t clear; the Ridge labels look exactly the same as the Rayber 1001 Wade Jones, and the catalogue numbers are 6601 (the Biscaynes’ Out Of Order/Mis-Beat) and 6602 (Don McKenzie’s Beauty/Hava Nagila). For some reason, Hava Nagila (that’s the traditional Jewish song) is credited as being published by Jobete (“Beauty” is credited to “Bayr”, whatever that is.)
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I have since read on an old Soulful Detroit Forum thread, that Ridge Records was a small Detroit label, which was owned by a local businessman, and it had no connection to Berry Gordy, other than his placing the Biscaynes record on it (e.g. leasing the masters to Ridge) (and, so it seems, placing Don McKenzie’s record on it, as well). However, I’m sure there were other records on the Ridge label, that had nothing to do with Berry Gordy and RayBer Music Co. They were an outlet for already-produced recordings of artists who couldn’t get records placed with bigger labels.
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This was also covered by legendary Detroit garage rockers the Gories on their ’92 album Outta Here.
I just noticed this little bio of them on allmusic:
http://www.allmusic.com/artist/nick-the-jaguars-p512550/biography
This Pontiac, MI-based instrumental trio had a lineup of two guitars and a drummer — leading them was a teenaged fireball named Marv Weyer, and Nick Ferro played the drums. Formed while all three players were still in school, they were notable not only for being out in front of future surf guitar legends such as Dick Dale by several years, but also for being the first white act signed by Motown Records, a deal brokered when Ferro’s dad, Gus, brought them to the attention of Berry Gordy Jr. during the company’s first year of operation. Their debut single, “Ich-i-bon #1” b/w “Cool and Crazy,” got a release on the Tamla label in August of 1959. They also saw action in the studio (as the Biscaynes) for Gordy’s Ridge label, and backed up the Ferros on their doo wop release of “Come Home My Love” b/w “Tough Cat,” for Fortune Records circa 1958. Marv Weyer went on to carve out a name for himself as a top rockabilly and country guitarist, and was still going strong at the start of the 21st century. The Jaguars were history by the start of the 1960s, but near the end of the century, the Gories paid tribute to their work and sound with a fresh rendition of “Ich-i-bon #1,” titled “Ichiban” and appearing on the Outta Here album.
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It seems that Ridge Records may have been yet another of Gordy’s own outlets for his Ray-Ber Music Services (along with Zelman and RayBer). They ALL issued songs published by Jobete Music. So, they ALL must have been recorded between Oct. 1958 and Jan. 1959, and released between Nov. 1958 and Feb. 1959.
Ridge Records may have had a partner to Berry, for providing the financing (which may be why those releases didn’t appear on RayBer Records. That is likely why the label had a “neutral” name. He used Zelman Records for Mike Power’s MOR release, as it was more fitting for that market. I assume that he used RayBer for Wade Jones’ release, because he didn’t have a partner in that project (Jones, himself paid for the recording session), and he thought that one had the most chance for a decent return).
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Interesting stuff. Question: do you think Motown Junkies should include the Zelman (and Ridge!) records?
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There’s nothing to lose by including them.
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I read both Raynoma’s and Berry’s autobiographies and I don’t recall any of these tracks or labels being mentioned at all. It’s like they even forgot about them.
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I have now seen and listened to the 2 sides of Don McKenzie’s Ridge record. It appears that Berry Gordy was not involved, in the slightest. Hava Nageela was not produced by Gordy, nor published by his Jobete Music. Don McKenzie being on the same Detroit label as Nick Ferro’s group is likely just a coincidence, as both lived in Detroit, and Ridge Records was a small pop label, that could release a record for relative unknown acts.
It may be that McKenzie met Gordy through their connection with Ridge, and later approached him when his Tamla and Motown labels were having some success. I doubt that Gordy had any relation to Ridge Records, other than leasing the Biscaynes’ record to them as part of RayBer Music’s production, recording music publishing and record label placement services to Nick Ferro and his father.There seems to be a lot of mis-information on The Internet, taking wild speculation and rumours for “facts”.
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I would first say that I, myself, would NOT include the Zelman and Ridge Records in a “Motown” 45s website, as they really weren’t part of the Motown (Tamla) Records operation, while the Rayber record WAS (more or less). It was run by all the same people performing all the same functions, and was fully owned by the same owners.
I believe that Mike Power paid for the pressing of the Zelman record, as well as for his recording session. So, essentially, Power “owned” Zelman records, and Berry, Raynoma, Smokey, Robert Bateman, Sonny Sanders, Brian Holland worked for him (providing the producing, arranging and marketing and distribution services), and they had Bristoe Bryant record for them. That was essentially the same situation with Berry recording Herman Griffin (at United Sound Recording) with Carmen Murphy financing the project and paying for the pressing on her label (Not Tamla). The Ridge Record was also not really the same as Tamla, as Ridge Records was either co-owned (along with Berry) by an outside financier, or it was completely owned by an outside person(financier), and not partly-owned by Gordy. Both the Zelman and Ridge projects finished well BEFORE Tamla started. One of the reasons I lobbied for the RayBer record to be included in with Motown, was that Tamla started up before even the pressing and distribution of the Rayber record were started. All those functions (other than (possibly) the songwriting and recording) were performed from 1719 Gladstone St. by the same people that were doing the same for Tamla 101 and 102, at the very same time. THAT is why the RayBer record should be included, and the Ridge and Zelman Records should be referred to only as historical information, and not analysed as “Motown” products. Otherwise, you’d have to include the Bryan Brent and The CutOuts’ Penny Record, and Herman Griffin’s House of Beauty records. Then, why not Berry Gordy’s Kudo productions, Ken Masters on Decca, Frances Burnett on Coral, Jackie Wilson, Penny and The Ekkos, etc., etc.
I think that including the RayBer record, The Motown-produced Rich record, the IPG Motown production, Lee Alan’s record make sense to be included. Perhaps I would also include The Marv Johnson, Eddie Holland and Wyatt “Big Boy” Shepherd UA releases that were recorded in Detroit and in Motown’s studios, with all production functions carried out by Motown people (under contract to United Artists). But, I wouldn’t include the later Marv Johnson productions produced in NY by UA NY people, and wouldn’t include the Jackie Wilson, Frances Burnett Decca/Brunswick/Coral NY productions, but might want to include the 1961 Ken Masters Gordy production (done in The Snakepit) by Smokey for Decca Records. Motown people wrote the songs, did the production and recording and only did not pay for the pressing and distribution.
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Yay! I was finally able to hear a track. The 50 seconds I heard of this song was pretty cool. Makes me want to watch Beach Blanket Bingo or another one of those early 60s beach movies lol. Nixon you got me laughing again when you say that this song “has about as much to do with Motown as this site about plant potting.” Funny, but so true. I would have never expected to hear something like this from Motown, but as you already said this song “serves to illustrate just how widely Berry Gordy would cast his net if he thought there was a hit to be had out of it.” This is a fun instrumental, but like you said that opening is bizarre. It is for that reason I agree with your verdict.
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Oh wow. Those old Beach Party are just unwatchable in IMHO now! If you must watch them, watch either “Muscle Beach Party” or “Bikini Beach” because at least you get to see Little Stevie Wonder performing & introduced by Don Rickles no less! Oh yeah there is also “Ski Party” which has a scene where James Brown & 2 of his Famous Flames walk into a ski lodge where the Beach Party gang is hanging out. They at first pretend not to be who they are, but some real WhiteBread girl says “You’re James Brown & the Famous Flames! I have all your records!” (yeh right. JB hadn’t really crossed over yet so was she listening to an R&B station?) Then JB & the guys break into “I Got You I Feel Good”. One of the more surreal moments in music history! LOL!!!!
To go completely off the planet, there was a knock off beach party movie (not a Frankie/Annette one) called “Beach Ball” where the Supremes do 2 songs including one called “My Surfer Boy”. The Supremes perform at some concert in the movie for the beach kids. Of course, the girls are dressed like its opening night at the Copa! Insanity! LOL! If I wanted to get real analytical I could ponder where a girl from the projects in Detroit would meet a Surfer Boy. But, don’t worry, I won’t ! Have a great day!
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LOL I love your humor here! I’m an avid TCM watcher so, I’ve seen quite a bit of classic films for someone my age. I’ve seen “Muscle Beach Party” and it was alrite. A part of me likes corny to an extent and the other part loves camp, so I could put up with some of the “beach movies.” My favorite would have to be “Beach Blanket Bingo” with Frankie & Annette. It’s so interesting how by the end of the decade those movies were considered passe. (I’m in the process of doing my senior research on the infamous film “Myra Breckinridge” so I’ve spent alot of time researching the 60s).
I must see Ski Party! Sounds like a blast. JB at a ski lodge getting on the good foot LOL.
I have never seen “Beach Ball” but I have scene the clip of the young Supremes performing it in the movie. Prim & proper they do look! lol. IMO “Surfer Boy” is one of the best Supremes song. Even though the lyrics may be silly, the beat gets you moving. I would place this song in the same category as “When The Lovelight Shines Through His Eyes” and “Love Is Like An Itching in My Heart.” In modern day terms these songs would be considered The Supremes dance/club songs. Also, I love the joyful intensity that Miss Ross is singing with and Flo and Mary are great with those “oooooooos” and the “Look at the way, the way he rides, he rides, he rides, oh so high.” They really dig this Surfer Boy lol. I love your analytic ponder about a Brewster project girl meeting and falling for a Surfer Boy who she is afraid for. I wish “Surfer Boy” were an official single because I would love to read Nixon’s critique. Nice song! LOL.
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Oh by the way, one of the better singers in the Beach movies was Donna Loren. She was the other bouncy brunette who usually had a song or two. She didn’t really have hit records but she was all over TV in the 60s. She actually had kind of a soulful voice at times. You can find her on YouTube. I think she did some Dr Pepper commercials. I’ll have to give “Surfer Boy” another chance!
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I wasn’t familiar with the name, but once I Youtube’d Donna I knew exactly who she was lol. I’ve seen her in a couple a of the beach movies. You’re right she did have a semi-soul voice. I like her “Shakin All Over Song.” She had swag in her day! Please do give “Surfer Boy” another try. I’m bopin my head to it right now as I type = )
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“Surfer Boy” and “Beach Ball” both appear as tracks on the recently released Hip-OSelect CD, More Hits by the Supremes (Expanded Edition).
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Cool. I think they’re both good songs (regardless of the silly lyrics) and contain the Motown sound. “Surfer Boy” is better though!
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Hi,
Okay. I gave a listen to “Surfer Boy” & it is a pretty good tune. I found out that H-D-H wrote it. If I had been Mr Gordy I would have had them re-write the song with Motown style lyrics & of course another title & release that baby – at least as an album track & maybe a single. Regarding the “Beach Ball” movie, the Righteous Bros do a song (a real uptempo tune) & those boys nail it! The R Bros did some early pre-Phil Spector stuff on a label called Moonglow. Those songs really rock &, IMHO, are better than the later hits (which of course are good in their own way). Bill Medley of the R Bros could really sound like Ray Charles when he wanted to! Bill later did a cool solo song called “Brown Eyed Woman” which was an early interracial love song. Great performance. Not to be confused with “Brown Eyed GIrl” sha la la la la !!!!!!
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Hello Landini!
I hope you had a fantastic weekend = ) My friends are laughing at me because I can’t do my homework because I’ve been itching to get back on the blog lol.
I’m glad you gave “Surfer Boy” another try. I told you it was a great HDH production minus the lyrics. “My Surfer Boy riding waves…” great song! = )
Wow I never heard of “Brown Eyed Woman” so I took a listen and it is a beautiful song with a beautiful message. You are so right, Bill Medley could sound like Ray Charles.
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Thanks for the info pal!
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I have to say that Nick and the Jaguars are doing their thing and makes me almost like surf music lol. The rarity makes me enjoy the tune and the history. 3/10
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