Traditions form the vibrant tapestry of Saturdays each fall at Ohio State University. From spirited family tailgates adorned with buckeye necklaces, symbols of good luck, to the thrilling moment when the sousaphone player dramatically dots the “i” in the iconic Script Ohio formation – these rituals unite students, alumni, and ardent fans in a shared Buckeye pride.
And as the third quarter concludes in the legendary Ohio Stadium, a wave of collective energy surges through the crowd as the unmistakable opening chords of “Hang on Sloopy” fill the air, igniting an impromptu dance party across the stands.
But how did this seemingly simple tune, the “Sloopy Song,” become so deeply interwoven into the fabric of Buckeye culture over the past half-century and beyond? Let’s delve into the captivating history of this beloved anthem.
1964: The Genesis of “My Girl Sloopy”
The story begins in 1964 in New York City, where Bert Berns, a prominent producer and songwriter associated with Atlantic Records, connected with The Vibrations. This established rhythm and blues ensemble from Los Angeles already boasted an impressive resume. They were a recognized force in New York, having released over 20 records, graced the stage of the Apollo Theater, and toured extensively on the famed “Chitlin’ Circuit” alongside other celebrated R&B artists.
Berns himself was a respected figure in the R&B realm, already credited with writing and producing hits like “Twist and Shout” for the Isley Brothers and “Cry to Me” for Solomon Burke.
Alt text: Carl Fisher, the lead vocalist for The Vibrations, in a recording studio in 1964, reflecting on the early recording of “My Girl Sloopy”.
Alt text: The Vibrations, a successful rhythm and blues group from Los Angeles, pictured in the 1960s, known for their original recording of “My Girl Sloopy”.
Berns’ musical sensibilities were heavily influenced by the Latin rhythms he absorbed growing up in the Bronx. This influence is palpable in a new song he and fellow songwriter Wes Farrell envisioned for The Vibrations: “My Girl Sloopy.”
“I didn’t think much of it until I heard the band behind it,” recalls lead singer Carl Fisher. “It was a conjunto Latin section that did it. When I heard it like that, it really stood out. I really liked it because it had a groove.”
Teacho Wiltshire’s Latin-infused arrangement, complete with a vibrant percussion section featuring timbales and tangos, imbued the song with a distinct Afro-Cuban flavor. Released as “My Girl Sloopy,” the track climbed to No. 26 on the pop charts, marking a successful run for Berns and The Vibrations before their professional paths diverged.
1965: “Hang on Sloopy” Takes Center Stage
In 1965, Berns continued his prolific career under the Bang Records label. He soon found himself with another hit climbing the pop charts, this time with The Strangeloves and their catchy tune, “I Want Candy.”
Despite their stage persona as brothers from the Australian outback, The Strangeloves were actually a trio of songwriter-producers hailing from New York City boroughs: Bob Feldman, Richard Gottehrer, and Jerry Goldstein.
The Strangeloves caught a performance by The Vibrations and were captivated by “My Girl Sloopy.” Feldman recounted in a 2014 interview with Impact that they were instantly drawn to the song’s infectious energy and decided to craft their own rock and roll rendition.
They renamed it “Hang on Sloopy” and began incorporating it into their live sets while touring with popular music groups across the country.
Alt text: Bert Berns, the influential producer and songwriter behind “My Girl Sloopy” and numerous other hits across the R&B and pop genres in the 1960s.
Alt text: The Strangeloves, pictured as a trio, who reimagined “My Girl Sloopy” into a rock and roll version and initially toured with the song before The McCoys’ recording.
Rock History Context
The practice of artists adapting and re-recording songs by other groups was commonplace in the music industry of the 1950s and 1960s. According to Austin McCabe Juhnke, a lecturer at Ohio State’s School of Music specializing in rock and roll history, this phenomenon was driven by market forces and cultural dynamics.
Record companies recognized the burgeoning teenage demographic with significant purchasing power and an appetite for new musical styles. However, parental resistance to the era’s evolving racial and cultural boundaries created a market opportunity. Companies would often have white artists re-record songs initially performed by Black musicians, aiming for broader mainstream appeal and profitability.
“You start to get covers by white performers that are performing songs that had already existed, already been performed by black musicians,” McCabe Juhnke explains. “It’s about making money.”
Berns’ own “Twist and Shout,” originally recorded by the Isley Brothers, is often more closely associated with The Beatles’ cover version. Similarly, Elvis Presley, famously dubbed the “King of Rock ‘n’ Roll,” drew heavily from the performances of Black artists in his early hits.
“Hang on Sloopy,” McCabe Juhnke notes, “is a microcosm of what was happening more broadly during this time period.”
The Race to Record “Hang on Sloopy”
“Hang on Sloopy” quickly became a crowd favorite during The Strangeloves’ live performances. However, another band touring with them, the Dave Clark Five, expressed their intention to record “Hang on Sloopy” upon their return to England.
“Stealing happened a lot,” Feldman recalls with a touch of amusement.
Determined to secure the release, The Strangeloves resolved to record their own single as soon as they completed their final show near Dayton, Ohio.
At that Ohio performance, they encountered a local teenage band named Rick and the Raiders. The lead singer, Rick Zehringer, made a lasting impression.
Feldman recognized that Zehringer (who later became known as Rick Derringer) possessed the ideal vocal style for “Hang on Sloopy.”
“We got their parents to come down to the gym and sign a contract that night,” Feldman recounts. “The whole way to New York (the teenagers) were fighting in the back seat like a bunch of little kids, and we told them they were just like the Hatfields and the McCoys.”
Leveraging their industry connections in New York, Feldman, Gottehrer, and Goldstein swiftly recorded “Hang on Sloopy” with the newly christened group, The McCoys. They sensed they had a hit on their hands and promptly interrupted Berns’ vacation in the Catskills to share the recording with him.
He was ecstatic.
Alt text: The McCoys band members in 1965, shortly after their recording of “Hang on Sloopy” soared to the top of the Billboard charts, marking the song’s peak popularity.
1965: From Airwaves to Stadium Anthems
“Hang on Sloopy” was released in the summer of 1965 and gained rapid momentum on radio stations across the nation. Around the same time, John Tatgenhorst, a percussion student at Ohio State, was working at the Ohio State Fair.
During a break, Tatgenhorst heard “Hang on Sloopy” playing over the fairground speakers and envisioned its potential for a marching band arrangement.
Although Tatgenhorst wasn’t a member of The Ohio State University Marching Band, one of his professors, Charles “Charlie” Spohn, served as its director.
Spohn, a distinguished professor and respected scholar in music education, had a practice of offering his students opportunities to arrange music for game performances. While Tatgenhorst had previously created arrangements for the marching band, Spohn was initially hesitant about “Hang on Sloopy.”
Spohn reconsidered when planning a halftime show celebrating the arts for the fall of 1965. He conceived a whimsical transition from Tchaikovsky’s “Waltz of the Flowers” to a more contemporary musical piece.
Alt text: A practice session of The Ohio State University Marching Band in the 1960s, during the era when “Hang on Sloopy” was first introduced to their repertoire by director Charles “Charlie” Spohn.
Alt text: Percussion section of The Ohio State University Marching Band in 1955, highlighting the program’s long-standing emphasis on student talent and musical innovation championed by directors like Spohn.
In a 2014 interview, Tatgenhorst recalled receiving a call from Spohn on a Thursday night while working at a local music store. Spohn’s message was direct: “Go ahead and arrange the son of a gun.”
The catch? The arrangement was needed by the next day.
Tatgenhorst estimates spending approximately four hours arranging “Hang on Sloopy” for the marching band, finally going to bed around 1 a.m.
Despite his exhaustion, a nagging feeling that something was off with the arrangement kept him awake. He got out of bed and returned to work, shifting the arrangement from the key of F to G-flat. To “give it another kick,” he added a modulation to heighten the dramatic impact before the refrain in a particular section. Bleary-eyed, he submitted the arrangement later that day.
The band rehearsed “Sloopy” a few days later, and an assistant director called to express congratulations to Tatgenhorst.
The students in the band embraced it enthusiastically.
The timing was remarkable: The McCoys’ “Hang on Sloopy” reached No. 1 on the Billboard Hot 100 chart on October 2, 1965 – precisely one week before the Ohio State marching band debuted it in Ohio Stadium.
“Hang on Sloopy” premiered in Ohio Stadium on October 9, 1965, with the 156-member marching band executing a stick-figure ballerina formation, incorporating a distinctive Watusi-like step. Observing today’s band closely, one can still discern the echoes of that original “Sloopy step” in their field performances. Dr. Christopher Hoch, Associate Professor in the School of Music and Director of The Ohio State University Marching and Athletic Bands, explains that mastering the music and rhythm of this step is a significant focus for new band members.
“The music, while pretty simple, is difficult to put with the drill that we do with it. That Sloopy step is one of the most awkward, most difficult things that you can do,” Hoch states.
Today: An Enduring Tradition Across Generations
Tatgenhorst initially hoped the song would last for a single season. Neither he nor Spohn could have foreseen its transformation into a beloved crowd favorite for decades to come.
It has become inextricably linked with Ohio State and the state of Ohio itself. The 116th Ohio General Assembly officially recognized this cultural significance by passing a resolution on November 20, 1985, declaring “Hang on Sloopy” as Ohio’s official rock song.
Today, the “sloopy song” resonates far beyond Ohio Stadium. It’s a staple at professional sporting events from Cincinnati to Cleveland, with fans spontaneously erupting into chants of “O-H-I-O” during the song’s infectious refrain. Music education programs introduce it to students as early as fifth grade, ensuring its continued legacy.
For Hoch, the “Hang on Sloopy” tradition, born from a student’s initiative so many years ago, is particularly meaningful.
“This program, everything we do around here, is for our students, and it’s ultimately them that put on the show. It’s them that gets the crowd to react, that plays the music, that supports the football team, all of those things. It’s about the students,” Hoch emphasizes.
“To have a student actually write this arrangement that has become so popular,” he concludes, “is certainly fitting and a tribute to what this program is really all about.”
Alt text: The Ohio State University Marching Band delivering a spirited performance of “Hang on Sloopy”, highlighting the enduring tradition and the challenging “Sloopy step” that remains a hallmark of their performance.
