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John Taylor, a saxophonist with a big band background, was on the lookout for talent in the early 1960s.
The original sleeve shown will not be supplied with the clock, it is shown for information only. He discovered a doo wop quintet that had been singing on street corners in Bayonne, New Jersey, a stone's throw from New York City, since the mid-'50s, first as The Arabians and more recently as The Creators.
Hopes were high for "Yeah, He's Got It," a more contemporary sounding call-and-response dance tune backed with "Boy, He's Got It," an instrumental version of the same song, but it got lost in the shuffle. First, Taylor decided to drop the Creators name, improvising a new but not-so-accurate moniker, The Ad Libs.
The hit's flip side, "Kicked Around," is a kick in itself with another great Thomas vocal, persistent organ and some of the tightest triangle clanging you'll ever hear.
The group's members at that time were leaders Hughie Harris and Danny Austin with James Wright, John Alan and bass singer Chris Coles. They recorded a seasonal song, "I'll Be Home (New Years Eve)," '50s style again, but it faltered as well.
In 1964 they made a demo recording of his song "The Boy from New York City," figuring the title alone might spark someone's interest on Broadway in Manhattan where so many of the big and not-so-big record companies did their business.


Taylor continued managing them, hiring Irene Baker with the hope of rekindling the magic of just a year earlier; she sang lead on "Every Boy and Girl," the B side of "Think of Me" on the Karen label.
Through his connections Taylor got them into a studio where they recorded a doo wop ballad, "I'll Never Never Do it Again," released in 1962 on the T-Kay label.
Wright, Alan and Coles left to pursue other interests, leaving Harris and Austin who were determined to keep it going, adding Norman Donegan and Dave Watt soon afterwards. But the song itself was what did the trick; the demo, a tight, finger-snappin' a cappella recording of the guys' doo wop backing with Mary Ann's overdubbed lead vocal, impressed Jerry Leiber and Mike Stoller, who signed the group to their red-hot, not-so-long-in-existence Red Bird Records. The group returned to Philips where the Creators had cut their teeth, but only one single, "Don't Ever Leave Me," was released. It was the addition of a fifth member, though, the secret weapon key to their success, that made the difference: a young woman with a terrific singing voice, Mary Ann Thomas. A session was held at the Mira Sound studio with a top-flight lineup of session musicians, though the emphasis remained on the quintet's strong vocals.
Later they popped up on the small Share record label with "Giving Up," a remake of Gladys Knight and the Pips' top 40 hit from '64; Van McCoy, the song's composer, produced the record with the group's latest lead vocalist, Linda Goodson (Baker was still around and for a time they had two female singers). Hey, Bobby Freeman had already cut a record a few years earlier with her full name as the title!


The Jeff Barry-Ellie Greenwich song "He Ain't No Angel," released as the Ad Libs' second single, is also very good but may have been the wrong choice for a follow-up as it sounded more like "Boy from NYC" than anything else they'd done, which may explain its measly number 100 peak a few months later. In contrast to the title, the fact they hadn't given up finally paid off when the song spent several weeks on the R&B chart in the spring of 1969. So didn't it seem logical that a real person with that name could have a career in the music biz? Fast-forward to 1981: "The Boy from New York City" was revived and became a hit for Big Apple-based group The Manhattan Transfer. Meanwhile, The Ad Libs were still at it, though with an ever-changing roster, performing live and making records under John Taylor's watchful guidance.



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