The Jive Five, Beltone 1006, 1961, #3 Pop and #1 R&B
If I could pin down any doo-wop song as my favorite, it would be The Jive Five’s “My True Story.” Its verse is nothing special; it follows the usual “ice-cream changes” that 90+% of doo-wop songs do (you know: C down to A-minor, to F and then G, like “Heart and Soul”). But each chorus’s repeated falsetto up-swoop is rapturous, and I get lightheaded every time I hear it. I always find myself whistling it long after listening to it, much to the chagrin of those around me.
The Jive Five had three more singles that made the Billboard charts, but much farther down, and they produce no chills when listened to. One-hit-wonderful songs like “My True Story” are little miracles, marvels of the collaborative process that very occasionally creates one gem, never to be equaled.
The “true story” involves a love triangle that includes a guy named Earl, which not only conveniently rhymes with “girl” but also happens to be the first name of quite a few doo-wop singers (though not any of the Jive Five). The sad story that makes the singer “cry, cry, cry” is a sensitive one for him. Taking off on the Dragnet intro, he sings, “The names have been changed, dear, to protect you and I.” (As a grammar nerd, I can’t help but sing “me” to myself every time I hear the line. But as a doo-wop fan, I un-correct my correction, quickly enough not to screw up the meter.)
The song is credited to Eugene Pitt, The Jive Five’s lead singer, and a fellow named Oscar Waltzer. I’m guessing Oscar got co-credit for doing some of the business of getting the song published and/or broadcast. Oscar Waltzer—I’m sorry—is just not the name of a doo-wop/R&B songwriter. (Was it a name made up as a little joke? After all, “My True Story” is in waltz time.)
A side note about Eugene Pitt: Prior to forming The Jive Five, he had a group named The Genies. Two of the Genies went on to have a ’62 top-ten hit, “What’s Your Name?,” as Don and Juan. Another late-doo-wop-era goodie. I recall a long-ago sing-along party, during which we singing partiers had had way too much of something or another to drink. We sang “What’s Your Name” and milked the song’s big finish (What’s your na-a-ame? What’s your na-a-a-a-ame? Shooby-do-wah-wa-ahhh”) for all we could get out of it. Then one of us tagged the next song we sang with that ending, and after that it was every song for the rest of the evening, from “Peaceful, Easy Feeling” to “In My Life.” It happened spontaneously and delighted us. When I tried doing that at another sing-along party years later, I just got annoyed looks. You can’t go home again.