In 1996, Jon Bon Jovi and Willy DeVille combined for a moving duet on “Save the Last Dance for Me.”
In March 1996, Jon Bon Jovi and Willy DeVille appeared on television in Paris, singing the classic song, “Save the Last Dance for Me.” Bon Jovi was a popular artist still riding high from his band’s music and solo work, having recently released These Days (1995), which did even better in Europe than in the U.S. DeVille, an influential singer-songwriter who had been recording for decades both with his band Mink DeVille and as a solo artist, was going through a period where he was more popular in Europe than in the U.S.
Bon Jovi was in his early 30’s, while DeVille, due to a heroin habit he would eventually kick, looked even older than his age of 45. But here, across the generations, the pop star and the independent underground legend created magic out of a hit song written before Bon Jovi was even born. First made famous by the Drifters in a 1960 release, “Save the Last Dance for Me” also had a fascinating back story behind the song and its writer Doc Pomus (who also worked with DeVille several times throughout their careers).
In the Paris TV performance, Bon Jovi and DeVille and the song join for an odd combination that should not work. But somehow they create some magic. Check it out.
Anytime I hear the song “Sylvia’s Mother” by Dr. Hook & the Medicine Show, it ends up stuck in my head for some time as an earworm. It is one of those songs I have heard many times since its release in 1975, but I never thought too much about it even though it is an unusual song. So, where did “Sylvia’s Mother” come from?
The Song
In “Sylvia’s Mother,” the singer calls a former lover but ends up speaking to her mother. Sylvia’s mother tells the man that her daughter is leaving town to marry another man. She tells the man not to say anything to Sylvia, but as the song continues the singer realizes that Sylvia is there with her mother, preparing to leave. But apparently Sylvia does not know it is him on the phone.
The power of the song largely comes from the aching vocal provided by Dr. Hook singer Dennis Locorriere as the singer begs with Sylvia’s mother: “Please Mrs. Avery, I’ve just got to talk to her/ I’ll only keep her a while.”
The Songwriter and the Hit Recording of “Sylvia’s Mother”
One of the interesting things about “Sylvia’s Mother” is that it was written by Shel Silverstein, which helps explain why the song does not sound like most other songs. Silverstein is noted for writing Johnny Cash songs like “A Boy Named Sue” and “25 Minutes to Go.” Perhaps he is even more well known for his drawings, poetry, and books, such as The Giving Tree.
“Sylvia’s Mother” was not the only song that Silverstein wrote for Dr. Hook. At the time Silverstein gave the band “Sylvia’s Mother,” Silverstein had already provided several songs to the band. But when the band was looking for a potential single to add to their first album, Silverstein offered them a new song, “Sylvia’s Mother.”
“Sylvia’s Mother” initially bombed as a single when Dr. Hook & the Medicine Show released the self-titled album in 1971. But they had faith in the song, so instead of releasing another single, they released “Sylvia’s Mother” again as a single in July 1972.
This time the song was a hit. Silverstein eventually provided another hit to the band in 1973 with “Cover of the Rolling Stone.”
The True Story Behind “Sylvia’s Mother”
Another interesting fact about “Sylvia’s Mother” is that Silverstein based it upon a true story from his own life. Silverstein had a relationship with a woman named Sylvia Pandolfi, but like many relationships, this one ended.
Later, Silverstein, still in love, called her, but Pandolfi told him she was preparing to fly to Mexico to marry another man. The next day, Silverstein called again, talking to Sylvia’s mother, who reaffirmed to the distraught man that his relationship was finished.
The following short video tells the real story behind “Sylvia’s Mother,” featuring both the real “Sylvia” and her mother. Arjan Vlakveld directed a short documentary on the tale, although it is unclear if the video from Top 2000 a gogo below is the same one.
Some sources, like Wikipedia, spell the name of the real woman as “Silvia,” but this video and other sources indicate her name was spelled the same way as in the song, “Sylvia.”
The lead singer of “Sylvia’s Mother” Dennis Locorriere eventually saw a video of the story behind the song. While he knew Silverstein wrote the song based on a true story, seeing the video left him “speechless.” He eventually met the real Sylvia.
Other Versions of “Sylvia’s Mother”
Other performers also recorded “Sylvia’s Mother.” Around the same time as Dr. Hook’s version was released, Bobby Bare recorded a country version of the song that also was a hit. In many ways, the song’s story and heartbreak theme fits the country genre like a glove.
Other artists have performed the song live. For example, Billy Bob Thornton has performed a faster version of “Sylvia’s Mother” live with the Boxmasters.
Bon Jovi has covered “Sylvia’s Mother” in concert. This 2003 performance appeared on the Bon Jovi video This Left Feels Right Live (2004). In the performance, Bon Jovi works to recapture the aching pain of the Dr. Hook version.
The Refreshments, a band from Sweden, included a cover of “Sylvia’s Mother” on their 2016 album Straight Up.
The song also featured prominently in the second season of the TV series Fargo. “Sylvia’s Mother” played on the radio during the death of one of the characters.
A Sequel Song: “Mrs. Avery”
Finally, one may wonder whatever happened to the singer and Sylvia’s mother. The British band, The Men They Couldn’t Hang, also wondered what happened to the singer in the song. So, they released a new song called “Mrs. Avery.”
In their sequel, The Men They Couldn’t Hang tell the story of the singer calling Mrs. Avery years later after he has been married and divorced. The song appeared on the band’s 2009 album, Devil on the Wind.
Shel Silverstein
The songwriter of “Sylvia’s Mother,” Shel Silverstein, had a reputation as a ladies’ man throughout his life. But one of his most-remembered contributions to the world is this song about a lonely man’s heartbreak.
Silverstein eventually married another woman, Susan Hastings. The two had a daughter. Silverstein and Hastings divorced and then she died in 1975, not long after the success of “Sylvia’s Mother.” Although Silverstein had another child in 1983, he never married again.
Finally, you may see Silverstein relaxing and playing the harmonica in this video of Dr. Hook & the Medicine Show on his houseboat playing . . . “Sylvia’s Mother.” (Silverstein appears around the 2:50 mark.)
On a tribute show in honor of Kenny Rogers, one of the members of the First Edition described how Kenny Rogers and the First Edition came to record “Ruby, Don’t Take Your Love to Town” in 1969. It’s a story about how a classic recording came together through circumstances and time pressure.
“You Have 10 Minutes”
The band was in the studio and learned that they only had ten minutes left when the producer asked them if they had anything they could quickly record. The album needed one more song, so the producers just wanted a song to use as filler on the album.
Kenny Rogers replied that they knew a Mel Tillis song called “Ruby, Don’t Take Your Love to Town.” So the band played the song, and producers completed the recording with just a couple of takes. Rogers, who was in his early 30s, had a voice that captured an older man’s weariness at a frustrating relationship with his wife.
The completed song went on the album. And then it became a huge hit.
Themes in the Unusual Song
It is not surprising that the song became a hit because it is so unusual. The disturbing lyrics are sung by a disabled man fearful of his wife going to town for love. He pleads for her not to cheat on him while he is alive, reminding her he will be dead soon.
In addition to the sexual innuendo in the song, there is violence too, as the man’s injuries are from “that crazy Asian war.” And his begging and understanding turns to anger toward the end: “And if I could move I’d get my gun / And put her in the ground.” At the end, the wife is leaving and the singer prays for her to turn around.
In the hands of Kenny Rogers and the New Edition, there is something disturbing about the song. Outside of country music and hip-hop, you rarely hear similar dark themes in pop songs.
When listeners first heard the title of “Ruby, Don’t Take Your Love to Town,” many of them might have sensed something familiar, recalling the 1958 Johnny Cash hit about a mother begging her son to avoid violence called “Don’t Take Your Guns to Town.” The new song took the violence of the Cash song and added sexual anguish, reflecting the openness of the 1960s for discussing such topics.
Although “Ruby” is a traditional country song, this recording was loved by young people too. Perhaps they connected with the young band, or perhaps they saw an anti-war sentiment underlying the tale.
Other Recordings of “Ruby”
Kenny Rogers and the First Edition were not the first to have a hit with “Ruby, Don’t Take Your Love to Town.” Two years earlier in 1967, Johnny Darrell had a hit country recording of the song.
Darrell’s version is sad without being as disturbing as the Kenny Rogers version. The author of the song, Mel Tillis, performed the song too.
But the Nimoy version is not the oddest recording of the song. For the weirdest version, check out the one by actor Walter Brennan.
Jon Bon Jovi recorded a different song with a similar title, apparently acknowledging the “Ruby” song with his title, “Janie, Don’t Take Your Love to Town.”
For another modern interpretation, check out a live performance of “Ruby” by The Killers. The band often perform the song and included it on their CD of rarities and B-sides, Sawdust.
What About the Other Side?
Finally, lost in the discussion of the song is the woman’s viewpoint. Geraldine Stevens, also known as Dodie Stevens, recorded an answer song in 1969. In her song, she takes the woman’s point of view, using the same music with the title, “Billy, I’ve Got to Go to Town.”
In the “Billy” song, Ruby tells her side of the story, explaining that her husband is still her man but bemoaning his jealousy. She does not explain why she has to go to town, though: “You’ve given all you had to give and now it’s up to me . . . Billy for God’s sake trust in me.”
Is she going to work? Prostituting herself to get money for them to live? We do not get an answer in this answer song.
All of the different versions of “Ruby, Don’t Take Your Love to Town” have their merits. But none of those recordings quite capture the unusual and disturbing nature of the song or reflect the turbulent era in which it was recorded in the way that Kenny Rogers and the First Edition did in those ten minutes when they rushed to fill an album.
in 1971. But they had faith in the song, so instead of releasing another single, they released “Sylvia’s Mother” again as a single in July 1972.
