The Crystals - He's A Rebel 1962

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Midi playing "He's A Rebel" by The Crystals. To download the midi click on title. DO NOT directly link to this file. When in doubt view the TERMS OF USE

See the way he walks down the street Watch the way he shuffles his feet My, he holds his head up high When he goes walking by He's my guy When he holds my hand I'm so proud 'Cause he's not just one of the crowd My baby, oh he's the one To try the things they've never done Just because of that they say CHORUS He's a rebel and he'll never ever be any good He's a rebel and he'll never ever be understood And just because he doesn't do what everybody else does That's no reason why I can't give him all my love He is always good to me, always treats me tenderly 'Cause he's not a rebel, no no no He's not a rebel, no no no, to me INSTRUMENTAL If they don't like him that way, they won't like me after today I'll be standing right by his side, when they say CHORUS He's a rebel and he'll never ever be any good He's a rebel 'cause he never ever does what he should And just because he doesn't do what everybody else does That's no reason why we can't share a love He is always good to me, good to him I'll try to be 'Cause he's not a rebel, no no no He's not a rebel, no no no, to me (He's not a rebel, no no no He's not a rebel, no no no He's not a rebel, no no no He's not a rebel, no no no)

Brief biography courtesy of Wikipedia
The Crystals, a singing group from the New York City area, were one of the most successful girl groups of the early 1960s, best remembered for the hit singles "He's A Rebel", "Da Doo Ron Ron" and "Then He Kissed Me". In the early 1960s, Barbara Alston, Mary Thomas, Dolores "Dee Dee" Kenniebrew, Myrna Girard and Patricia "Patsy" Wright formed The Crystals through the help of Benny Wells, Barbara's play uncle. Soon, the quintet signed with Phil Spector's label Philles Records. Spector then chose Alston to be the group's lead singer by default, which made her very uncomfortable since she had a fear of singing in front of audiences. Their first hit was 1961's "There's No Other Like My Baby" (see 1961 in music). This song's A-side "Oh Yeah, Maybe Baby" (featuring Wright on lead) didn't generate the interest that the more late 50s R&B-flavored, "Chantels-like" B-side did. Their second release, "Uptown" was very topical and socially-aware, as it had the group crooning about loving a boy in the ghetto. After the success of "Uptown", a pregnant Girard was replaced by Dolores "LaLa" Brooks. The next single was 1962's "He Hit Me (And It Felt Like a Kiss)", still widely remembered though only rarely played on the radio due to the touchy subject matter of spousal abuse. Sales were sluggish. Soon after "He Hit Me" flopped, Phil Spector began recording singer Darlene Love and her backing group The Blossoms under the name "The Crystals". Legend has it that the real Crystals were not able to travel from New York to Los Angeles fast enough to suit the LA-based Spector, who wanted to quickly record and release "He's a Rebel" (written by Gene Pitney) before anyone else had a chance to cover it and have a hit with it. A version recorded by Vikki Carr was about to be released, for example. The Crystals were unavailable, but Love and the Blossoms were also based in LA, so Spector recorded them and put the record out under The Crystals' banner. "He's A Rebel" is perhaps the Crystals' most well-remembered song, and one of the most enduring of the girl group genre. It was also their only US #1 hit. The follow-up Crystals single, "He's Sure the Boy I Love", in actuality also featured Love and The Blossoms. It reached #11 on the Billboard chart, and features a classic spoken intro by Darlene Love. The next single credited to The Crystals is one of the rarest -- and also possibly the strangest -- in rock music history. Reports vary as to the actual motivation behind the recording, but most agree that Phil Spector was looking for a way to annoy former business partner Lester Sill. What he came up with was a nearly six-minute song called "Let's Dance The Screw - Part I", which would be unplayable on 1963 radio. The record featured simple instrumentation (very much unlike Spector's famous Wall of Sound production style), repetitive lyrics, and Spector himself intoning the lyric "Dance The Screw" numerous times in a deadpan monotone. (The B-side, Part II, was more of the same.) The Crystals sang the song's repetitive verses, though it is unclear if these singers were the 'real' Crystals or The Blossoms. Incidentally, some accounts mention that Spector's lawyer is actually the man intoning "Dance The Screw." The recording was never released commercially as a single, and only a few copies are known to exist (all marked D.J. COPY - NOT FOR SALE). The record was apparently only created to be a bizarre sort of joke at Sill's expense, as a single copy was specially delivered to him in early 1963. Both parts of the song have since been released on CD. Further information about this strange recording can be found at snopes.com Though it's unclear as to the level of their participation in "Let's Dance The Screw", the 'real' Crystals definitely began recording again under their own name in 1963. However, Thomas had departed to get married, only to join another, mildly successful group, The Butterflys, along with another original Crystal, Merna Girard. This reduced the group to a quartet, and Alston, never comfortable with being out front, stepped down from the lead spot giving it to Brooks. According to Brooks, she had been doing Alston's leads in their live shows for a while. After "Let's Dance The Screw", the group's next release was the classic "Da Doo Ron Ron." According to Darlene Love, the track was originally recorded by The Blossoms, with Love on lead vocal. Prior to release, Spector erased Love's lead vocal and replaced it with a vocal by LaLa Brooks, although he kept the Blossoms' backing vocals in place. [If you listen closely to the bottom note, you can hear Cher's unmistakeable voice beefing up the backing vocals.] The song was a top 10 hit in both the US and the UK, as was the follow-up single "Then He Kissed Me-" the first Crystals single since "He Hit Me" to feature all members of the Crystals as a definite group. Both "Da Doo Ron Ron" and "Then He Kissed Me" were penned by Spector with Jeff Barry and Ellie Greenwich. Despite the steady flow of hit singles, tensions between Spector and the Crystals mounted. The Crystals became upset with Phil because they had not received any royalties from any of the records like he said they would and he was lying to them about their recordings. Two failed Crystals singles followed, before the band left Spector's Philles Records for United Artists Records later in 1964. "Little Boy" (#92) was a Wall Of Sound production of monstrous proportions, with the girls' voices barely distinguishable from the music; "All Grown Up," their final single (two versions exist), rocks on the released 45 version but only reached #98. 1964 also saw the departure of Wright who was replaced by Frances Collins, a dancer who they had met while touring; toward the end of that year Alston departed leaving the group a trio. One more single was released by Barbara, Dee Dee and Mary on the tiny Michelle Records in 1967. They disbanded in 1967 (see 1967 in music). They reunited in 1971 (see 1971 in music) and toured widely in varying incarnations on the oldies circuit; they still perform today. Kennibrew is the only original Crystal who remained active throughout their touring from the seventies to the present, finally claiming the rights to the Crystals name away from Spector.

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