Skip to main content

I’m Like A Bird: “Rock-In Robin” by Bobby Day




The first one-hit wonder to appear in this list – or would have been, had Bobby Day not had a minor hit in 1957 with his song “Little Bitty Pretty One” (although Thurston Harris had a much bigger hit with his cover). However, as an effective one-shot hit, “Rock-In Robin” – that is how the title is spelt on the label of the original 45 rpm single – is an agreeable and engaging record. Born in Fort Worth, Day – real name Bobby Byrd (no, he was not that Bobby Byrd) – then moved to Los Angeles and worked with some doo-wop groups, including the Hollywood Flames and the Satellites, before going solo.



“Rock-In Robin” was written by one “Jimmie Thomas.” In reality this was Leon René, who had been around since 1902 and composed such classics as “When The Swallows Come Back To Capistrano” and “When It’s Sleepy Time Down South.” You might therefore be forgiven for thinking that “Robin” has a dubious reputation. In Britain this is probably down to the fact that Bobby Day’s original record was only a minor hit and the song is best known through Michael Jackson’s irredeemably twee 1972 cover (to which I will be returning here in due course).



There really isn’t much to the song, if truth be told, but Day gives it an authoritative and enthusiastic reading – his rhetorical pause after the word “oriole” is particularly striking - and it helps that the backing band rip through the song with such unashamed gusto, complete with concluding wolf-whistles. Flute solos in rock ‘n’ roll? There’s no sound in flutes, as Buddy Rich once complained, but Plas Johnson’s onomatopoeic piccolo – yes, piccolo - solo here provides the record with its necessary punctum. Unfortunately, René opted to use Day’s song “Over And Over,” which would undoubtedly have given him another major hit, as the B-side; however, the Dave Clark Five remembered it and took the song to number one in 1965.



Date Record Made Number Two: 18 October 1958

Number of Weeks At Number Two: 2

Record At Number One: “It’s All In The Game” by Tommy Edwards

UK Chart Position: 29

Other Information: Bobby Day went on to be the original “Bob” in Bob and Earl but was subsequently replaced by another “Bob” – Bob Relf, he of Northern Soul perennials such as “Blowing My Mind To Pieces.” It is Bob Relf whom you hear on “Harlem Shuffle.”

Comments

Popular posts from this blog

“I Would Have Thought In The Middle Of The Atlantic In The Middle Of The Night That Rockets Must Mean Trouble”: “I’m Not In Love” by 10cc

"watching for night, with absinthe eye cocked on the lone, late, passer-by." (Sylvia Plath, "Prospect," 1956) This story begins in 1954, before most people had really recognised anything called rock, and a pop record which is half-perfect. That record, which stayed at number one in our charts for ten weeks, was “Cara Mia” by David Whitfield with Mantovani and his Orchestra and Chorus. Now, Whitfield was never the most subtle of singers and his in-your-face bellowing is somewhat distracting – it is significant that he was the first British reality media star (not from television, because at that time Opportunity Knocks was only broadcast on Radio Luxembourg) since his climactic high C at the end of “Cara Mia” is like a display of gymnastics, or an athletic field event; can he do that triple loop or throw that javelin beyond the stadium? It proves that technical prowess can often render itself unlistenable. But the magic here lies in the extraordinary ...

Hey Now, Hey Now Now, Burn This Corrosion To Me: “Fire” by The Crazy World Of Arthur Brown

More so than “Born To Be Wild,” “Fire” marks the dividing line, where pop turns into rock, where psychedelia mutates into progressive, between fun for all the family and parents keep the hell out. Number one in Britain when I was four years old, it scared the shit out of me at the time. Even in a year which could already have been classified as pop in extremis – Dave Dee’s whip on “Legend Of Xanadu,” Jagger’s sympathetic Devil make-up on “Jumping Jack Flash” – Arthur Brown’s flaming colander crown and a Top Of The Pops performance of the song which appeared to show the band burning in forests of flame gave me genuine nightmares; not to mention the moment in the long-gone Vale Café in Tollcross when I accidentally pressed the wrong button on the jukebox and “I AM THE GOD OF HELLFIRE!” roared out. Now I already had cause enough to have nightmares in 1968, for reasons with which I shan’t bore you here. It wasn’t that pleasant a year, even from my juvenile perspective. But the...

What About All The Dreams That You Said Were Yours And Mine?: “MacArthur Park” by Richard Harris

The story begins with Bones Howe, a producer who, along with Jimmy Webb, worked on the first two albums by The Fifth Dimension – Up, Up And Away and The Magic Garden . This work was a happy affair, and while putting these records together Webb regularly confided in Howe about how he would like to expand the vocabulary and structure of the popular song. Spellbound, as with so many others, by Pet Sounds and Pepper , he was looking to do something similarly (if amiably) disorientating. Upon completion of The Magic Garden , Howe urged Webb to be as good as his word and compose the epic song that was in his head. Webb responded with a twenty-minute, multi-movement cantata – i.e. one whole side of an album – which he called “MacArthur Park.” Howe instantly thought of another of his production clients, The Association, who in late 1967 were looking towards the experimental and adventurous. Webb and Howe duly approached the group with this great notion. Figuring that The Ass...