Episode 24 of our journey through rock music history spotlights a track that, while largely forgotten today, once stood as a monumental piece in the burgeoning rock and roll landscape: “Ko Ko Mo” by Gene and Eunice. This isn’t just another song; it’s a story of double releases, cover frenzy, and the bittersweet taste of fleeting fame, encapsulating the vibrant yet often ephemeral nature of early rock and roll hits.
Gene and Eunice
To understand the significance of “Ko Ko Mo,” we must delve into an era where rhythm and blues was crossing over into the mainstream, laying the groundwork for rock and roll. Among the countless records vying for attention, “Ko Ko Mo” emerged not once, but twice, in 1954, performed by the same duo but released by competing labels – a testament to its immediate appeal and potential impact. This unusual release scenario is just the tip of the iceberg in the fascinating tale of Gene and Eunice and their unexpected hit.
Before “Ko Ko Mo” became a national talking point, Gene Forrest was navigating the music scene in Los Angeles. His early recordings for John Dolphin’s “Recorded in Hollywood” label, while not commercially successful, placed him at the heart of a burgeoning musical revolution. Dolphin, a black entrepreneur facing racial barriers, built a music empire that uniquely targeted white teenagers, recognizing their growing appetite for rhythm and blues. His 24-hour record store and radio station, broadcasting live, became a hub for this cultural shift, playing a pivotal role in popularizing R&B on the West Coast.
A jukebox, with the words
Gene’s stint with Dolphin’s label, though brief, was formative. He later moved through RPM Records and Aladdin Records, the latter connection proving crucial when he teamed up with Eunice Levy. Eunice, fresh from a talent show win, joined Gene, initially as part of the Four Feathers’ band, but their chemistry soon blossomed into a romantic and musical partnership. They transitioned into a duo, Gene and Eunice, and signed with the small Combo Records label owned by Jake Porter.
Their first and only Combo release was “Ko Ko Mo.” This track, a blend of Gene’s verse and Eunice’s chorus inspired by Kokomo, Indiana, was a raw and energetic R&B number. Backed by Jonesy’s Combo, it had a distinctive rhythm, shifting between a tresillo-infused verse reminiscent of Fats Domino and a shuffle chorus. While not polished, it possessed a raw charm that resonated with the era’s evolving musical tastes.
[Excerpt: “Ko Ko Mo” first version, by Gene and Eunice]
However, Gene’s previous contract with Aladdin Records created a dramatic twist. Seeing the potential of “Ko Ko Mo,” Aladdin Records leveraged their prior agreement and compelled Gene to re-record the song for them. Eunice, though not contracted, joined him, likely to avoid legal complications. The result was a near-identical rendition of “Ko Ko Mo,” this time credited to Gene and Eunice with Johnny’s Combo, featuring the legendary Johnny Otis.
[excerpt “Ko Ko Mo”, second version, by Gene and Eunice]
This led to an unprecedented situation: the same song, by the same artists, available on two different labels simultaneously. Combo and Aladdin engaged in a trade ad war, each claiming to have the “original” and “real” version of “Ko Ko Mo.” Billboard, in a pragmatic move, combined the sales and airplay of both versions, treating them as a single entity for chart purposes. “Ko Ko Mo” by Gene and Eunice, in its dual form, climbed to number six on the R&B charts, marking a significant, if peculiar, success.
The story of “Ko Ko Mo” doesn’t end with Gene and Eunice’s versions. It ignited a cover frenzy rarely seen before. Within weeks, versions by Marvin and Johnny, The Crew Cuts, Louis Armstrong, The Flamingoes, Betty Clooney, and countless others flooded the market.
[Excerpt: “Ko Ko Mo” by Marvin and Johnny]
[excerpt “Ko Ko Mo” by Perry Como]
[excerpt: Andy Griffith, “Ko Ko Mo”]
Perry Como’s rendition became the most commercially successful, associating the song with a decidedly non-rock and roll artist. Andy Griffith, the future sitcom star, even released a version. This widespread appeal is attributed to the song’s surprisingly clean lyrics, devoid of the sexual innuendo often present in R&B, making it palatable for a broader, whiter audience at a time when racial and social sensitivities were highly charged. Trade magazines even labeled Como’s version as rock and roll, highlighting the genre’s nascent and fluid definition in early 1955, post “Rock Around the Clock” release.
Ironically, despite the massive success of “Ko Ko Mo” covers, Gene and Eunice saw little financial reward. Having sold the publishing rights early on, and with Aladdin controversially claiming ownership, the songwriting duo was largely excluded from the financial windfall generated by their hit.
Their follow-up single, “This is My Story,” continued their chart success, reaching number eight on the R&B charts.
[Excerpt: Gene and Eunice “This is My Story”]
However, the momentum was short-lived. As “Ko Ko Mo” peaked and “This is My Story” was released, a crucial tour loomed. Eunice’s pregnancy forced her off the road, leading to the recruitment of Linda Hayes as a temporary replacement. Linda, sister of The Platters’ Tony Williams, toured as Eunice while the original Eunice was on maternity leave. This substitution, while practical, might have subtly disrupted the duo’s brand and connection with audiences.
[excerpt: Linda Hayes and the Platters, “Please Have Mercy”]
Upon Eunice’s return, their career plateaued. Subsequent recordings for Aladdin, even with production by the renowned Earl Palmer, failed to recapture their initial success. They were eventually dropped by Aladdin and drifted through various labels, with Eunice briefly returning to Combo Records without Gene.
[Excerpt: Gene and Eunice, “The Angels Gave You To Me”]
[excerpt: Eunice Levy, “Only Lovers”]
The question remains: why did Gene and Eunice fade into obscurity despite creating one of the era’s most covered songs? The answer may lie in the crucial role of musical communities and networks. While Shirley & Lee, Ike & Tina Turner, and Mickey & Sylvia, all contemporaries and fellow duos, were interconnected and supportive, Gene and Eunice seemed isolated. Their Johnny Otis collaboration was a one-off, and Linda Hayes’s temporary stint didn’t forge lasting alliances. They lacked the deep-rooted connections within the evolving music scene that often sustain careers and legacies.
However, their influence wasn’t entirely extinguished. Jamaica’s affinity for New Orleans R&B led to a following for Gene and Eunice. “The Vow,” a later Aladdin release, found new life when covered by Bunny and Rita (Anderson) of Studio One in Jamaica, a label instrumental in developing ska and reggae.
[excerpt: Bunny and Rita: “The Vow”]
A brief reunion attempt in the 1980s proved unsuccessful, though Eunice recorded a final solo single, “Real Reel Switcher,” backed by veteran musicians Red Callender and Earl Palmer.
[excerpt: Eunice Russ Frost, “Real Reel Switcher”]
Gene remained out of the limelight until his passing in 2003, while Eunice occasionally performed at R&B and doo-wop conventions before her death in 2002, carrying the torch for “Ko Ko Mo” and a fleeting moment of rock and roll history.
“Ko Ko Mo,” therefore, stands as more than just a catchy tune from 1954. It represents a pivotal point in early rock and roll, a song so infectious it spawned a cover craze and briefly placed Gene and Eunice at the forefront of a musical revolution. Though their own star dimmed, their contribution to the foundational “24 Songs” of rock and roll, through “Ko Ko Mo,” remains undeniable, a testament to the unpredictable and often ephemeral nature of early rock and roll fame. Their story serves as a reminder that even those who fade from the spotlight can leave an indelible mark on music history.
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