“Scroll down to the end of the article to listen to music.”
Introduction
In the late 1950s, as the United States experienced economic shifts, the refrain “Get a job!” became a common household admonition. This phrase resonated with many, including Richard Lewis, tenor of The Silhouettes, whose mother often urged him with these words upon his return from military service. This maternal prompt inspired the creation of “Get a Job,” a song that would become emblematic of the era’s doo-wop sound.
About The Composition
- Title: Get a Job
- Composer: Earl Beal, Raymond Edwards, Richard Lewis, William Horton
- Premiere Date: November 1957
- Genre: Doo-wop, Rhythm and Blues
Background
“Get a Job” was recorded in October 1957 at Robinson Recording Laboratories in Philadelphia. Initially intended as the B-side to “I Am Lonely,” the track was released on Kae Williams’ Junior label before being acquired by Ember Records for national distribution. The song’s catchy “sha na na” and “dip dip dip dip” hooks, collaboratively crafted by the group, quickly captivated audiences. Performances on shows like American Bandstand propelled the single to the number one spot on both the Billboard pop and R&B charts by February 1958, eventually selling over a million copies.
Musical Style
“Get a Job” exemplifies the doo-wop genre with its harmonious vocals and rhythmic patterns. The song features a tenor lead complemented by baritone and bass harmonies, creating a rich vocal texture. The inclusion of Rollee McGill’s saxophone solo adds a distinctive rhythm and blues flair, while the repetitive vocal hooks enhance its memorability.
Lyrics
The lyrics narrate the frustrations of unemployment and the societal pressures to secure employment. Lines like “When I was in the service in the early 1950s and didn’t come home and go to work, my mother said ‘get a job'” reflect personal experiences, resonating with many facing similar challenges during that period.
Performance History
Following its release, “Get a Job” became a staple in The Silhouettes’ performances, including multiple appearances on American Bandstand. Its success led to tours alongside artists like Sam Cooke and Jackie Wilson. Despite their subsequent singles not achieving similar acclaim, “Get a Job” solidified their place in music history.
Cultural Impact
The song’s influence extended beyond music, inspiring the name of the revival group Sha Na Na and featuring in films such as American Graffiti and Stand By Me. Its catchy phrases became part of popular culture, even influencing the nickname “Xanana” for East Timorese leader José Alexandre Gusmão.
Legacy
Decades later, “Get a Job” remains a quintessential doo-wop track, symbolizing the genre’s golden era. Its themes of employment struggles continue to resonate, and its musical style influences artists across generations.
Conclusion
“Get a Job” by The Silhouettes captures a specific moment in time, blending personal narrative with universal themes. Its enduring appeal lies in its harmonious blend of catchy melodies and relatable lyrics. For those looking to experience this classic, The Silhouettes’ original recording offers an authentic glimpse into 1950s doo-wop.
Video
Lyrics
Yip-yip-yip-yip-yip-yip, bmm
Sha-na-na-na, sha-na-na-na-na, ahh-do
Sha-na-na-na, sha-na-na-na-na, ahh-do
Sha-na-na-na, sha-na-na-na-na, ahh-do
Sha-na-na-na, sha-na-na-na-na
Ahh, yip-yip-yip-yip-yip-yip-yip-yip
Mum-mum-mum-mum-mum-mum, get a job
Sha-na-na-na, sha-na-na-na-na
Well every morning about this time (Sha-na-na-na, sha-na-na-na-na)
She gets me out of bed, a-crying get a job (Sha-na-na-na, sha-na-na-na-na)
After breakfast everyday she throws the want ads right my way
And never fails to say – get a job
Sha-na-na-na, sha-na-na-na-na, ahh-do
Sha-na-na-na, sha-na-na-na-na, ahh-do
Sha-na-na-na, sha-na-na-na-na, ahh-do
Sha-na-na-na, sha-na-na-na-na
Ahh, yip-yip-yip-yip-yip-yip-yip-yip
Mum-mum-mum-mum-mum-mum, get a job
Sha-na-na-na, sha-na-na-na-na
Lord, and when I get the paper I read it through and through
I, my girl never fail to see if there is any work for me…
I got to go back to the house, hear that woman’s mouth
Preachin’ and a cryin’, tell me that I’m lyin’ about a job
That I never could find
Sha-na-na-na, sha-na-na-na-na, ahh-do
Sha-na-na-na, sha-na-na-na-na, ahh-do
Sha-na-na-na, sha-na-na-na-na, ahh-do
Sha-na-na-na, sha-na-na-na-na
Ahh, yip-yip-yip-yip-yip-yip-yip-yip
Mum-mum-mum-mum-mum-mum, get a job
Sha-na-na-na, sha-na-na-na-na
Lord, and when I get the paper I read it through and throu-ough
I, my girl never fail to see if there is any work for me…
I better go back to the house, hear that woman’s mouth
Preachin’ and a cryin’, tell me that I’m lyin’ about a job
That I never could find
Sha-na-na-na, sha-na-na-na-na, ahh-do
Sha-na-na-na, sha-na-na-na-na, ahh-do
Sha-na-na-na, sha-na-na-na-na, ahh-do
Sha-na-na-na, sha-na-na-na-na, ahh-do
Sha-na-na-na…