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Ahmet Ertegun signed The Clovers up in 1951, and
decided to give them a Blues-based sound, more in tune with what
the label was trying to accomplish. The Clovers meshed
perfectly with this makeover and catapulted from the starting
gate; their debut Don’t You Know I Love You (written by A.
Nugetre aka Ahmet Ertegun) became a huge seller. It
established the seductive pattern: medium tempo rocker backed by
insistent guitar-bass-piano figure, and those rich, deep-bodied
'Clover' vocals. The use of sax breaks was also considered a
radical departure, as Frank Culley’s cool blowing
became part of their signature identity. The Clovers'
maiden voyage moved an unheard of 300,000 units, but the follow-up
Fool Fool Fool surpassed it, selling an astonishing 600,000
units. A 4-year run of hits ensued, including the following
classics: Down In The Alley, Your Cash Ain’t
Nothing But Trash, Lovey Dovey, One Mint Julep
(later an Atlantic instrumental hit for Ray Charles),
Middle Of The Night, Miss Fannie, Crawlin’,
Wonder Where My Baby’s Gone, Ting-A-Ling, to
mention a few. Often, both sides tracked top 3 on the R&B charts,
and that type of exposure dictated a non-stop touring schedule,
headlining with Rosco Gordon, Little Richard,
Fats Domino, Ruth Brown, many others. At their 1954
peak, The Clovers were recognized as a Top 10 moneymaker by
Billboard—despite never crossing over into the Pop market.
It also didn’t hurt the cause that manager Lou Krefetz was
given a national sales position with Atlantic. Sly lyrics,
inventive harmonies, access to fantastic tunesmiths like Rudy
Toombs, Jesse Stone, and Ahmet Ertegun, plus
brilliant instrumentation from luminaries like pianist Harry
Van Walls and guitarist Bill Harris provided insurance
this group would maintain momentum. Featured at Alan Freed’s
Moondog Coronation Ball held May 1, 1954 (which drew a
sell-out crowd of 10,000), The Clovers were included on a
bill that attracted an audience composed of 20 percent whites.
Radio personalities, music business types, and promoters took
note; meaning nothing would ever be the same again. By 1956,
The Clovers’ hit-making days were winding down, but several
gems were yet to unfold, such as Devil Or Angel--a jewel of
a ballad that hit #3 R&B in Jan ’56 (teen idol Bobby Vee
did a version for the bobbysox market). Another Bobby—by name of
Vinton—did another gorgeous ballad done in 1954 by The Clovers,
riding Blue Velvet to number 1 in 1962. The Clovers first
taste of the true pop market was with Love Love Love, which
broke into the Top 40. By 1958, Atlantic began focusing their R&B
division in a demonstrably Pop direction, emphasizing the 'new'
Drifters and Bobby Darin, while relegating The
Clovers to second fiddle status. That unique Clovers sound:
sweet as a dream of seduction, nasty as an evil back-street breeze
was regarded as slightly salacious by censors seeking to sanitize
Rock n' Roll for the masses. Still, The Clovers would
experience their biggest success when Leiber & Stoller’s
Love Potion #9, released on the United Artists
label, exploded into the Top 20 pop charts in 1959, and got
covered by The Searchers, providing one of the first major
hits of the 1964 British invasion. The very first artistic mention
on The Embers’ tribute song I Love Beach Music is
accorded The Clovers. It stands to reason: the songs of
The Clovers, with their wonderful arrangements, enticing
lyrics, and Blues-based harmonies, are synonymous with sun, surf,
romantic interludes, and swaying in the ocean breeze to the exotic
rhythms of the shag. |
