“Why Do Fools Fall in Love?” is more than just a catchy tune; it’s an enduring anthem of youthful romance and heartbreak, forever etched in the annals of rock and roll history. Made famous by Frankie Lymon and the Teenagers, this 1956 hit resonated deeply with a generation, propelled by Lymon’s unforgettable, soaring falsetto and the song’s infectious rhythm. But behind the sweet melody and relatable lyrics lies a complex narrative of teenage stardom, industry exploitation, and ultimately, tragedy. This article delves into the story behind “Why Do Fools Fall in Love,” exploring its origins, its musical impact, and the bittersweet legacy of Frankie Lymon and the Teenagers, ensuring its place as a pivotal song in the early rock and roll era.
The journey of “Why Do Fools Fall in Love” began not in a professional songwriting studio, but in the most ordinary of settings: a New York City apartment building hallway. This was the practice space for a group of teenagers initially known as the Ermines, later evolving into the Premiers. Sherman Garnes and Jimmy Merchant, having departed from a previous group, joined forces with Latino neighbors Joe Negroni and Herman Santiago. Inspired by the Cadillacs, they even briefly adopted names like the Coup de Villes and the Premiers, honing their vocal harmonies and dreaming of musical success.
Frankie Lymon and the Teenagers performing, showcasing their youthful energy and doo-wop style
Legend has it that the spark for “Why Do Fools Fall in Love” came from an unexpected source – a neighbor tired of hearing the group rehearse the same songs repeatedly. This neighbor, in a moment of inspiration, presented the teenagers with love letters penned by his girlfriend, some crafted as poems. He suggested they transform these personal expressions of love into song. Taking up the challenge, Herman Santiago and Jimmy Merchant focused on one letter containing the poignant phrase, “why do birds sing so gay?”. From this line, they began to construct a ballad, initially intended as a showcase for Santiago’s vocals.
Around this time, a young talent named Frankie Lymon entered the picture. Already performing with a mambo group, where he played percussion and sang, Lymon was drawn to the Premiers. It’s worth noting the context of the mambo craze sweeping the US in the early to mid-1950s. While rock and roll was emerging, mambo, alongside other Latin and Caribbean musical styles categorized as “exotica,” was also gaining significant popularity. Perez Prado’s “Mambo Jambo” became a defining hit of this era, influencing artists across genres, including Bill Haley and the Comets, who released “Mambo Rock.” Lymon’s initial musical background in mambo highlights the diverse musical landscape of the time, a landscape that was on the cusp of being reshaped by the burgeoning rock and roll movement. Despite his mambo background, Lymon was quickly persuaded to join the Premiers, initially not as the leader, but simply as another member of the ensemble.
The trajectory of the Premiers, and subsequently “Why Do Fools Fall in Love,” took a decisive turn when Richie Barrett encountered them singing on a street corner. Barrett, today remembered for his 1962 hit “Some Other Guy” (later covered by The Beatles), was then the lead vocalist for the Valentines and also worked as a talent scout and producer for George Goldner’s Rama Records. Goldner, known for his keen ear for hits and a business partner of the notorious Morris Levy, had a knack for identifying and nurturing young talent. Similar to Ike Turner at Chess and Jesse Stone at Atlantic, Barrett played a crucial role in discovering and developing artists, shaping raw talent into stars.
Goldner’s entry into the R&B world was itself linked to the mambo craze. His initial foray into the music industry was through a chain of nightclubs featuring Latin music. The popularity of these venues led him to establish Tico Records, a label dedicated to Latin music, notably featuring early recordings by Tito Puente. As mambo’s influence spread, Goldner observed the growing interest of black teenagers in R&B music. This observation prompted him to launch Rama Records, focusing on R&B singles, and later Gee Records, named after the successful Crows’ hit, “Gee,” released on Rama. Goldner’s background in Latin music and his subsequent embrace of R&B positioned him at the heart of the evolving musical tastes of the 1950s, just as doo-wop and early rock and roll were taking center stage.
When Richie Barrett brought the Premiers to George Goldner, it was Frankie Lymon who immediately captured Goldner’s attention. While the group’s Latino members initially piqued Goldner’s interest due to his affinity for Latin music, it was Lymon’s captivating stage presence and vocal talent that truly stood out. Even in early footage, Lymon’s performance style is strikingly reminiscent of a young Michael Jackson, displaying a natural charisma and confidence far beyond his years. Unlike the more reserved demeanor of the other Teenagers, Lymon commanded attention, engaging the audience with an energy and stagecraft akin to a young James Brown. His vocal ability was also undeniable. In an era where doo-wop groups weren’t always known for technical vocal proficiency, Lymon possessed a genuinely gifted falsetto voice, a powerful instrument that he knew how to wield effectively. It was clear to Goldner and Barrett that Frankie Lymon was a star in the making.
Interestingly, Frankie Lymon wasn’t originally intended to sing lead on “Why Do Fools Fall in Love.” Herman Santiago was slated to be the lead vocalist, and the song was arranged with his voice in mind. However, during the recording session, a pivotal decision was made to shift the spotlight to the group’s youngest member. Lymon’s distinctive falsetto, which would become the song’s signature element, was a last-minute addition. This change in vocal arrangement proved to be transformative, imbuing the song with a unique youthful energy and vulnerability that resonated with audiences.
[Excerpt: Frankie Lymon and the Teenagers, “Why Do Fools Fall In Love?”]
When “Why Do Fools Fall in Love” was released, it was credited not to the Premiers, but to “The Teenagers, featuring Frankie Lymon.” George Goldner recognized the marketing potential in emphasizing the group’s youth, and particularly Lymon’s youthful image and voice. The name change and the billing shift were strategic moves to capitalize on Lymon’s burgeoning star power. Much of the song’s polished sound and arrangement, however, stemmed from the contributions of session saxophone player Jimmy Wright. Wright’s arrangements became a defining characteristic of the Teenagers’ recordings, including the signature bass intros initiated by Sherman Garnes, adding depth and sophistication to their doo-wop sound.
The rapid success of “Why Do Fools Fall in Love” inevitably led to the emergence of a white cover version, a common occurrence in the 1950s music industry. The Diamonds, a Canadian group known for their clean-cut image and doo-wop covers, released their rendition of the song. Following in the footsteps of fellow Canadians, the Crew Cuts, who had found success with white covers of black R&B hits, the Diamonds aimed to capture a broader, predominantly white audience.
[Excerpt: The Diamonds, “Why Do Fools Fall in Love?”]
However, in a sign of changing times and evolving racial dynamics in music consumption, the Diamonds’ version of “Why Do Fools Fall in Love” peaked at number twelve, while Frankie Lymon and the Teenagers’ original soared to number six on the charts. This success was partly fueled by the promotional efforts of influential DJ Alan Freed, a friend of Morris Levy. Furthermore, the novelty of a young, seemingly prepubescent boy singing lead falsetto proved to be a significant draw, something the adult members of the Diamonds couldn’t replicate.
Falsetto vocals, while present in doo-wop arrangements, had typically been a secondary element, often used for harmonies and embellishments. Lead vocals were generally sung in a smooth, high tenor range, rarely venturing into the extreme upper register. Frankie Lymon, with his naturally unbroken voice, introduced a new vocal timbre to rock and roll lead vocals. This innovation had a profound impact, influencing countless vocal groups that followed. The distinctive sounds of groups like the Four Seasons, Jan and Dean, and the Beach Boys, all of whom heavily featured falsetto vocals, owe a debt to the pioneering vocal style of Frankie Lymon.
Adding to the song’s global reach, a British cover version was recorded by Alma Cogan, a popular middle-of-the-road singer known as “the girl with the giggle in her voice.” This practice of British artists covering American hits was widespread in the UK during the early rock and roll era, largely due to limited distribution of US records in Britain. British audiences often experienced American rock and roll through these domestic cover versions. Alma Cogan became a notable interpreter of American R&B hits for the UK market, bridging the transatlantic musical gap.
[Excerpt: Alma Cogan, “Why Do Fools Fall In Love?”]
Following the phenomenal success of “Why Do Fools Fall in Love,” Frankie Lymon and the Teenagers released “I Want You to Be My Girl.” This follow-up single also performed strongly, reaching number thirteen on the pop charts, solidifying their status as hitmakers. Subsequent releases, however, met with less commercial success, although “I’m Not A Juvenile Delinquent” became a notable hit in the United Kingdom.
Despite their initial triumphs, the record label soon made a fateful decision: to launch Frankie Lymon as a solo act. The rationale behind breaking up a successful group remains unclear, but the likely calculation was to create two profitable entities – Frankie Lymon as a solo star and the Teenagers continuing as a group. However, this strategy ultimately backfired.
Frankie Lymon inadvertently became entangled in the racial tensions that were simmering beneath the surface of the burgeoning rock and roll scene. Alan Freed, a key champion of rock and roll, hosted a TV show called The Big Beat, a television adaptation of his popular radio program. While Freed was known for promoting black artists, his show, like much of mainstream media at the time, was primarily aimed at a white audience. When Frankie Lymon appeared on The Big Beat, the studio audience was predominantly white and engaged in dancing, a common feature of Freed’s shows. During his performance, Frankie Lymon danced with a white girl from the audience. This seemingly innocuous act sparked outrage among Southern network affiliates, reflecting the deeply ingrained racial segregation of the era. Within weeks, The Big Beat was abruptly cancelled, a casualty of racial prejudice and network anxieties. This television appearance, which effectively ended Freed’s show, was also tragically, almost certainly Frankie Lymon’s debut solo performance, a grim omen for his future career.
Neither Frankie Lymon nor the Teenagers achieved significant chart success after the split. The final releases credited to Frankie Lymon and the Teenagers were, in reality, Frankie Lymon solo recordings with backing singers. “Goody Goody” managed to reach number twenty on the pop charts, but subsequent releases fared poorly. Lymon’s first official solo single, “My Girl,” failed to chart altogether.
[Excerpt: Frankie Lymon, “My Girl”]
He continued to record for a few more years, but none of his subsequent singles gained traction. By the time his voice changed, losing its distinctive falsetto, his career had already significantly waned. His last recording to even approach hit status was a 1960 remake of Bobby Day’s “Little Bitty Pretty One.”
[Excerpt: Frankie Lymon, “Little Bitty Pretty One”]
The Teenagers, without Frankie Lymon, also struggled to maintain their momentum. They went through a series of lead singers, including Billy Lobrano, a white vocalist who, according to Jimmy Merchant, sounded more like Eddie Fisher than Frankie Lymon.
[Excerpt: The Teenagers, “Mama Wanna Rock”]
Later, Freddie Houston, who would later join various Ink Spots lineups, took over as lead singer. They even experimented with rebranding, briefly performing as “Sherman and the Teenagers,” as heard in their rendition of the Leiber and Stoller song “The Draw.”
[Excerpt: Sherman and the Teenagers, “The Draw”]
None of these iterations recaptured the magic of their original lineup with Lymon. In a further attempt to revitalize their sound, they brought in Sandra Doyle, who later replaced Zola Taylor in the Platters, as a female vocalist. Despite these changes, the Teenagers continued to struggle and eventually disbanded in 1961.
Frankie Lymon’s life after leaving the Teenagers was marked by profound personal tragedy. He entered into three marriages, each bigamous. His only child tragically died just two days after birth. Battling a severe heroin addiction, Lymon reportedly resorted to stealing from his second wife, Zola Taylor, to fuel his habit. A brief reunion with the Teenagers in 1965 proved unsuccessful. He served in the army for a period and seemed to have overcome his addiction, even securing a new record deal. However, on the night before he was scheduled to return to the recording studio, he relapsed, tragically for the final time. Frankie Lymon died of a heroin overdose in 1968 at the age of just 25, his career as a star having faded almost half his life earlier.
The remaining members of the Teenagers reunited in the 1970s, with Frankie’s brother briefly joining the group. Sherman Garnes passed away in 1977, followed by Joe Negroni in 1978. However, Herman Santiago and Jimmy Merchant continued to perform, intermittently with various lineups of the Teenagers. Remarkably, a version of the band persists to this day, still featuring Herman Santiago, with Jimmy Merchant having retired only recently.
Beyond the personal tragedies, “Why Do Fools Fall in Love” was also at the center of significant legal battles. The song, while made famous by Frankie Lymon and the Teenagers, was actually written by Herman Santiago and Jimmy Merchant. Despite their authorship, neither Santiago nor Merchant were initially credited as songwriters when the song was released. Instead, the songwriting credits went to Frankie Lymon, who had contributed to some revisions in the studio, and, astonishingly, Morris Levy, who had no involvement in the song’s creation until after it became a hit. George Goldner was initially listed as Lymon’s co-writer, even though he too was not involved in the songwriting process, but at least he was present during the recording. When Morris Levy acquired Goldner’s interests in the record labels, he also acquired Goldner’s purported songwriting rights, effectively making himself the legal co-writer of “Why Do Fools Fall in Love.”
In 1992, after decades of struggle, Herman Santiago and Jimmy Merchant finally won songwriting credit for “Why Do Fools Fall in Love” in a landmark legal decision. However, this victory was short-lived. In 1996, the ruling was overturned on appeal. The court determined that Santiago and Merchant had waited too long to pursue legal action, and the songwriting rights reverted to the names originally listed: Frankie Lymon and Morris Levy, the latter of whom never even met the band when the song was written. Frankie Lymon, of course, was no longer alive to benefit from this legal outcome. However, the legal battles surrounding his estate took another bizarre turn. In the 1980s, three different women emerged, each claiming to be Frankie Lymon’s rightful widow and heir. These claims involved a complex web of bigamous marriages and contested legal documents. Ultimately, Frankie Lymon’s third wife (or possibly second, depending on the validity of earlier marriages) prevailed in the protracted legal disputes and inherited control of his estate and legacy.
“Why Do Fools Fall in Love” has transcended its initial success to become a timeless standard, covered by a diverse array of artists, from Joni Mitchell and the Beach Boys to Diana Ross. However, the story of Frankie Lymon and the Teenagers remains a poignant cautionary tale, illustrating the dark side of the music industry, the perils of child stardom, and the enduring consequences of exploitation and racial prejudice. While “Why Do Fools Fall in Love” continues to enchant listeners with its youthful exuberance and romantic charm, its history serves as a stark reminder of the complexities and tragedies that can lie beneath the surface of even the most beloved songs.
References
- Jackson, John A. Big Beat Heat: Alan Freed and the Early Years of Rock & Roll. Schirmer Books, 1991.
- James, Tommy, with Martin Fitzpatrick. Me, the Mob, and the Music. Scribner, 2010.
- Leiber, Jerry, Mike Stoller, and David Ritz. Hound Dog: The Leiber and Stoller Autobiography. Simon & Schuster, 2009.
- Marv Goldberg’s website on the Teenagers
- The Complete Frankie Lymon on Roulette, including the Teenagers and the Teenchords. Bear Family Records, 1994. (Compilation)
- Mixcloud streaming playlist of songs from the episode
