It is taking longer than expected to fetch the next song to play. The music should be playing soon. If you get tired of waiting, you can try reloading your browser.

Please check our Help page for information about troubleshooting Pandora on your browser.

Please ensure you are using the latest Flash Player.

If you are unable or do not wish to upgrade your Flash Player,
please try a different browser.

Please check our Help page for information about troubleshooting Pandora on your browser.
Your Pandora Plus subscription will expire shortly.
More Info
No Thanks
Your Pandora Plus trial will expire shortly.
Your Pandora Plus trial subscription will expire shortly. Upgrade to continue unlimited, ad-free listening.
Upgrade Now
You've listened to hours of Pandora this month. Consider upgrading to Pandora Plus.
More Info
No Thanks
Hi . Pandora is using Facebook to personalize your experience. Learn MoreNo Thanks
 Upgrade  sign up   |   help   |  
Change Skin

Free personalized radio that
plays the music you love

Now Playing
Music Feed
My Profile
Create a Station
People who also like this

The Drifters

The history of rhythm and blues is filled with vocal groups whose names -- the Orioles, the Cadillacs, the Crows, the Flamingos, the Moonglows, the Coasters, the Penguins -- are held in reverence by fanatics and devotees. The Drifters are part of an even more exclusive fraternity, as a group that managed to carve out a place for themselves in the R&B firmament and also define that music, not only at its inception as a national chart phenomenon in the early '50s but also in the decade that followed. Their place in history is as complex as their role in it, by virtue of the fact that there are two distinct phases to their music and the continuity of their membership, and their extraordinary longevity -- only the Platters could claim as great a span of years as an active recording unit, though the latter group, due to major differences in the way they were organized, were far more stable in their membership and output. The Drifters can also claim a unique place in popular music history, as a major R&B group founded at the instigation of a record-label chief.

Their story began in early 1953, when Clyde McPhatter, the soaring high-tenor lead singer in the Dominoes, a vocal quintet formed by Billy Ward three years earlier, quit that group. The Dominoes were playing a scheduled gig at the New York club Birdland, one of their first performances without McPhatter, when one of the audience members present asked after the singer backstage. That fan was Ahmet Ertegun, a one-time record collector who had started Atlantic Records in the late '40s; as soon as he learned of McPhatter's having left the Dominoes, he contacted the singer and signed him to Atlantic.

It was Ertegun who gave McPhatter the impetus, as part of his contract, to start a group of his own, which came to be called the Drifters. The origins of the name and credit for thinking of it are obscure, although no one at Atlantic liked "the Drifters" at first, thinking it sounded too country & western -- the explanation sometimes offered by those present was that the members simply drifted in from other groups.

The main source for McPhatter's backing singers was among the ranks of former members of the Mount Lebanon Singers, the gospel group with which McPhatter had sung in the '40s. He went through several attempts at assembling a group that would be acceptable to Ertegun and producer Jerry Wexler, going through as many as a dozen friends and acquaintances, a handful of whom actually made it to formal recording sessions. The initial, unsuccessful lineup, featuring William Anderson, David Baughn, Dave Baldwin (the brother of author James Baldwin), and James Johnson, recorded four songs on June 28, 1953, of which only "Lucille," a McPhatter-authored song, was ever released. In August, a second Drifters lineup was put together, with Gerhart Thrasher, Andrew Thrasher, two very experienced gospel singers on tenor and baritone, respectively, bass singer Willie Ferbee, and Walter Adams on the guitar. From the beginning, the group was unusual among R&B vocal ensembles in that a guitarist was part of their core lineup and the electric guitar central to their arrangements; Jimmy Oliver, who would soon take that spot as his own, also proved to be an important songwriter for the Drifters, especially for tenor Gerhart Thrasher. The new edition of the group cut five numbers on August 9, 1953, one of which was "Money Honey," written by arranger/pianist Jesse Stone. Released within a few weeks, it hit the number one spot on the R&B chart by mid-fall of that year, and it was occasionally cited in later years as the first rock & roll record, and later entered the repertory of Elvis Presley and dozens of lesser talents. The group's career was made after that, at least as long as Clyde McPhatter was singing lead with them.

This success didn't stop the regular lineup changes that would characterize the Drifters' history. By the time the Drifters were enjoying their breakthrough hit, a reconstituted lineup, with bass singer Bill Pinkney and guitarist Jimmy Oliver joining Gerhart Thrasher and Andrew Thrasher, cut their first session. This was the lineup that lasted for the year that followed, and cut "Such a Night," a number two R&B hit, and a second R&B chart-topper with "Honey Love" in early 1954. By that time, the charts and radio play, along with audience sensibilities, had opened up and "Honey Love" also made number 21 on the pop charts late that spring. Not for the last time, it seemed as though the Drifters were headed for big things together, but a key member had developed other ideas by the fall of 1954.

Although he'd been assured of a considerable amount of musical control, McPhatter found that Ertegun and Wexler were, as the producers, always trying to push the group into directions of their own choosing. McPhatter didn't begrudge them their efforts at finding new sounds that might sell records to white as well as black audiences, but he didn't feel like participating. His goal was to cross over to pop audiences as a balladeer, and saw himself as having the potential to become another Nat "King" Cole, or perhaps a black answer to Frank Sinatra or Perry Como. By October of 1954, he had parted company with the group in favor of a solo career that would make him a success for the rest of the 1950s.

Rather than see the group in which they'd invested 18 months of their time go out of existence, Ertegun and Wexler were still interested in recording the Drifters, but that group's internal circumstances were vastly different once McPhatter was gone.

McPhatter had organized the Drifters under the auspices of his own business entity, Drifters Incorporated, so that he would have a share of their earnings, something that he'd been denied in the Dominoes; his own willingness to share those earnings with the other members has never been broached or questioned. He was half-owner of the group with his manager, George Treadwell, a former jazz musician who had masterminded the solo career of his first wife, Sarah Vaughan; when McPhatter left the group, rather than making a provision for the other members and his eventual successor to get his share, he sold out his interest in Drifters Incorporated to Treadwell.

This basically doomed the group to a permanent revolving-door lineup. From that day forward, all of the members of the Drifters were salaried employees, earning as little as $100 a week even into the early '60s, and getting no share of royalties from record sales, no benefits from the concert fees they commanded, nor any claim to the use of the name "the Drifters" if they left, no matter how successful the group became through their efforts. It thus became impossible for the group to hold on to anyone with serious talent or aspirations for a long-term career in music. This made the Drifters, for those present after McPhatter's exit, little more inviting than McPhatter's own tenure with the Dominoes, and he later regretted making the decision, recognizing not only what he had cheated himself of out by not hanging on to his share of the ownership but also what he had done to his fellow musicians.

The immediate problem facing all concerned in 1954, however, was finding a replacement for Clyde McPhatter, and some would argue that they never did. David Baughn, who had sung with a very early version of the Drifters, came in as a temporary replacement, singing at one recording session and serving as lead vocalist for six months' worth of live engagements (which was how the group generated most of its income). Baughn's singing was good enough, but the group sounded like an imitation of the McPhatter-era Drifters, and Atlantic declined to release any of these sides at the time, possibly due to their potential to interfere with McPhatter's solo releases, which were selling well. The label didn't know whether to shoot for an entirely new sound or to try to find a replacement who sounded like the former lead singer who, by 1956, was a major R&B star in his own right. Additionally, Baughn soon demonstrated an erratic personality, sufficiently unnerving to force Treadwell to recruit a second lead vocalist in Bobby Hendricks, who had previously sung with the Five Crowns and the Swallows. Attempts were made to record this lineup, and even bass singer Bill Pinkney was cut doing a lead vocal, but none of it was considered acceptable.

The lineup itself began to shift as Baughn quit, but the group soldiered on, drawing good crowds at their shows based on the quality of their earlier recordings. In 1955, however, they auditioned a young man who approached the group after a show in Cleveland. Johnny Moore had been a member of a group called the Hornets, who had done a little bit of recording without making any more than a local reputation for themselves. He sounded enough like McPhatter, however, with his pleasing high tenor, and was offered a spot in the Drifters the next day. Moore would prove to be a mainstay of the group in two different decades.

The Drifters resumed recording in September of 1955, with Nesuhi Ertegun and songwriter Jerry Leiber producing and with Moore singing lead. The result was a number one R&B chart single, "Adorable," which went a long way toward establishing their post-Clyde McPhatter reputation. This proved to be one of the very few major chart records they would enjoy during this era, however -- the Drifters were still absent from the top of the pop charts, where the real money and huge sales figures lay. Their records during the late '50s were overlooked by most young white listeners, despite the presence of future rock & roll standards such as "Ruby Baby" in their output.

Dion would enjoy a much bigger hit with the latter song in the early '60s, but it was an important recording for the Drifters, marking their introduction to the talents of songwriters Jerry Leiber and Mike Stoller, who would later take over the job of producing the group. The Drifters' lineup was also stabilized for the first time in over a year. The original Drifters now entered their "silver age" behind Moore's cool high tenor, ably supported by the bass singing (and occasional lead spot) from Bill Pinkney and Bobby Hendricks' tenor. "I Gotta Get Myself a Woman," written by Jesse Stone and cut during the summer of 1956, brought the group a number 11 R&B hit and the group's fortunes once again seemed to be on a consistent upswing.

As it turned out, the black record-buying public wasn't prepared to fully accept a new Drifters, without McPhatter -- black audiences practically worshipped the singer, who commanded a passionate loyalty that anticipated the future success of Sam Cooke. Additionally, the music was changing -- white teenagers were now a much bigger part of the market than they had been in 1953-54, and Atlantic set its sights on that potentially much richer vein of listeners.

The end of 1956 saw the release of the first album by group, entitled Clyde McPhatter & the Drifters. Such was the popularity of McPhatter at the time, and the tracks that he'd done with the Drifters, versus their recent work, that those 14 songs rated inclusion on an LP well over a year after his exit from the lineup in an effort to sell the music once more to his fans -- in that regard, Atlantic was very forward-looking; very few labels in 1956 were releasing LPs aimed at black R&B listeners (apart from Elvis Presley's albums, very little white rock & roll made an impression on the album charts).

Late 1956 was also the point when the consequences of the Drifters' business organization caught up with the group. Their recent hits had led to more bookings than at any time since 1954, which was good for Treadwell and his partners, but difficult for the members, who were still working on straight salary and, by Bill Pinkney's estimation, very low salaries. He approached Treadwell for a new arrangement, or at least more money for the group members, and he was fired. His dismissal drove fellow founding member Andrew Thrasher out of the lineup as well, and out of music altogether. Pinkney and ex-Drifter Bobby Hendricks became the core of a new Atlantic group called the Flyers, who released one single that failed to attract much attention.

The new Drifters lineup was filled by bass singer Jimmy Ricks and then, more permanently, by Tom Evans, late of the Dominoes, and baritone Charlie Hughes. The group's fortunes now took a new turn as Jerry Leiber and Mike Stoller began producing their sessions in late 1956 -- unfortunately, their arrival on the scene coincided with Johnny Moore's receiving his draft notice in early 1957. The group was (no joke intended) adrift once again, in terms of its sound and lineup. Bobby Hendricks was brought back in, and Jimmy Millender took over the baritone chores, but there wasn't a lot of good material that came from those sessions. For a time, in the absence of an ability to create a successful Drifters sound, it seemed as though Atlantic was trying to turn them into another version of the Coasters, doing light-hearted versions of pop standards. In a way, this was understandable -- black listeners held this era's Drifters at arm's length, while white teenagers were dominating the pop charts and they seemed, at least potentially, open to new records by anyone, so Atlantic decided to cater to them, hoping for a breakthrough.

By late 1958, Hendricks had announced his exit, and even guitarist Jimmy Oliver, who had managed to get several of his songs recorded during his four-year tenure with the group and was an unheralded mainstay of their sound, finally quit. The remaining members, such as they were, were working as hard as ever and wanted more money and, when Treadwell refused their request, they all walked out (or were fired en masse).

Treadwell was about to find himself without a group and faced with upcoming engagements to fulfill at the Apollo Theater in New York. He spotted his way out of this impasse at the Apollo, way down on a bill on May 30, 1958 on which the about-to-be-fired Drifters were headlining. The Five Crowns, or the Crowns, as they were then known, had been a fixture in Harlem for most of the 1950s, predating the Drifters without ever making a mark as a recording act, and enjoying precious little reputation as performers.

Treadwell approached their manager, Lover Patterson, explaining that he was dumping the existing Drifters and needed a new group to fulfill their performing obligations. Patterson agreed and the group followed suit, and all of the individual members' contracts, except for that of one of the group's two baritones, were sold to Treadwell. In later years, this kind of arrangement would become a little more familiar in the business -- the Grass Roots essentially evolved this way, as did the performing version of the group Steam -- but it was unusual in those days, and difficult to pull off, and mostly served to keep Treadwell from ending up in court.

The new Drifters lineup consisted of Charlie Thomas on lead, baritone Benjamin Earl Nelson, later known as Ben E. King, Dock Green (who had held the Crowns together) (baritone), and Elsbeary Hobbs singing bass. They did as they were required under the agreement and, for ten months, worked in the shadow of the old group, playing live gigs characterized by the awkwardness of performing the old songs as though they were their own, to mostly black audiences who knew that these weren't the Drifters. Atlantic still hoped to profit from the group, however, and a second Drifters LP, Rockin' & Driftin', was released in late 1958, comprised entirely of single tracks recorded by the 1955-58 lineup. Ironically, in all of their 19-year history with Atlantic Records, the Drifters, in any incarnation, never recorded an actual "album" session; every one of their LPs was compiled from existing single tracks and B-sides and, except for the first album, all have a mix-and-match element to the memberships and, especially, the singers represented.

The group still had a recording contract with Atlantic Records and, despite the fact that the old Drifters' recent releases had done little business, the label decided to try once more with the new lineup and get a record out. On March 6, 1959, they went into the studio with Leiber & Stoller producing, to cut four songs. Charlie Thomas was supposed to sing lead but he developed mic-fright in the studio, and so Nelson was deputized for "There Goes My Baby," which he had co-written, along with "Hey Senorita," and "Oh My Love." "There Goes My Baby," co-written by Nelson and orchestrated by Stan Applebaum, was as much a landmark in the history of R&B and soul as "Money Honey" had been six years earlier. At the time, nobody present was sure of what they had because it sounded so chaotic, strange, and complicated -- no one had ever used a string section, much less one recorded as prominently as this one was, on an R&B record, and no R&B record up until that time had ever dared sound so complex, overlaying Latin percussion, violins, and a fiercely passionate performance by the singer. It not only didn't sound anything like the old Drifters, but it didn't sound like anything else that had ever been heard on a commercial recording before. And it was a complete mess in the eyes of some observers, including Jerry Wexler, who said the song sounded like a radio picking up two different stations at once.

"There Goes My Baby" peaked at number two, their biggest hit to that date on the pop charts and their biggest seller up to that time, winning over both R&B and pop audiences and transforming the group and its image. Moreover, it marked the group's first impact on audiences overseas -- the earlier Drifters, for all of their impact on rock & roll, never got a record released in Europe, but this new group and their sound would soon find a very important mass audience in England. The group seemed headed for a huge future when the problem of their business set-up came into play again. They'd cut other songs at that same session, including "Baltimore," which sounded like an update of the Cadillacs' "Speedo," but the strings-percussion-echo timbres of "There Goes My Baby," hung around long melodic lines, became the Drifters' trademark sound for the ten years that followed.

This seemed to be a new lease on life to the group, and then more troubles arose from within, owing to the way the Drifters were organized as a business. Ben Nelson wasn't happy working for $100 a week; not with the hundreds of miles of travel between some shows, and as many as six days of shows each week. He was so poor working for the group that he felt compelled to sell off his share of the songwriting on "There Goes My Baby," Accounts differ as to precisely what happened on this issue -- some say that he sold the share off to Treadwell and his accountant, while Jerry Wexler claims that he accepted a document from the singer assigning him the copyright, in exchange for $200; Wexler held on to the document, and gave it back to the singer once the song was a hit so he could tear it up.

After approaching Treadwell for more money and being turned down, Nelson saw that there was no future as a member of the Drifters and announced his exit almost as soon as it came time to cut a follow-up. At the same moment, Lover Patterson played his trump card, a separate contract that he'd signed with the singer, as a solo artist, dated before Treadwell's offer. It all could have ended up in court but luckily for the singer and fans of the Drifters, cooler heads prevailed. He remained with Atlantic Records on their Atco subsidiary as a solo artist, and agreed to record with the group until a suitable replacement could be found, singing on "Dance With Me," "This Magic Moment," "I Count the Tears," and "Save the Last Dance for Me," the latter their only number one hit, among other songs, through the spring of 1960. By the time his exit had been arranged, Nelson had changed his name to the more memorable Ben E. King, which was how he emerged in his own right.

The post-1959 Drifters (which also included guitarist Billy Davis) are usually thought of as the "Ben E. King Drifters," but the reality was that King had left the group by the end of that same year. King's first successor was Johnny Williams, who exited suddenly in late 1960, but the Drifters quickly found a replacement in Rudy Lewis. An ex-member of the Clara Ward Singers, Lewis was the singer on "Some Kind of Wonderful," "Up on the Roof" (a Top Five hit), "Please Stay," "What to Do," and "On Broadway" (a Top Ten hit), among numerous other classic tracks by the group. Lewis, tragically, wasn't the longest lasting of the group's lead vocalists but his tenure with the group, following King's, arguably constituted the second half of a second golden age in their history.

Whoever was involved on a particular record, this lineup of the group was once again at a peak of influence in those years. "There Goes My Baby" anticipated the shift to a more pop-oriented brand of soul music, embraced by Sam Cooke and, even more so, by Berry Gordy at his fledgling Motown label. Indeed, the sound of "There Goes My Baby" was practically the prototype for Smokey Robinson & the Miracles' landmark single "Way Over There." Others also learned from them, most notably a young producer named Phil Spector, who was working at Atlantic as a session guitarist in the early '60s and ran with the sound he heard in Stan Applebaum's arrangements, expanding it into something new and turning it into his own trademark, imprinted on the work of a dozen top recording acts. And it was during the recording of his own "Please Stay" by the group that Burt Bacharach first encountered a vocalist named Dionne Warwick, who was part of the backing trio for the Drifters.

Between 1960 and 1964, the Drifters achieved a level of stability that was unprecedented in their history, and it was matched by their success. Not that they didn't make mistakes -- they turned down "This Diamond Ring," and Atlantic never released their version of "Only in America," both of which became huge hits, in the hands of Gary Lewis & the Playboys and Jay & the Americans, respectively. Still, luck was with them even as essential personnel around them moved on -- in late 1963, as Leiber & Stoller shifted their attention to their own record label, Red Bird, the Drifters got a new producer in Bert Berns, a songwriter with a feel for commercial soul music. "Vaya Con Dios," from their first session with the new producer (and which reflected his love of Latin themes), was a moderate pop chart hit. And in the spring of 1964, with Leiber & Stoller no longer writing the way they had been, the group was offered a new song by composers Art Resnick and Kenny Young, called "Under the Boardwalk."

It was scheduled for recording on May 21 of 1964. Then, on the night of May 20, just hours before the recording session, Rudy Lewis was found dead in his apartment under circumstances that are still in dispute -- the police suspected a drug overdose, but people who knew Lewis insisted that his only vice was binge-eating, and that he had choked to death. Without any time to reschedule the session, Johnny Moore, who had rejoined the group as second tenor in early 1963, stepped into the breach. Moore, who had previously held the thankless task of leading the late-'50s Drifters, achieved a special magnificence at that session singing "Under the Boardwalk," which became the group's last Top Ten hit in 1964, peaking at number four. He became the longest lasting of the Drifters' various lead singers, lasting into the 1970s and beyond their time as a serious recording act.

By late 1964, Berns was moving on to other projects including the early releases of his new independent label, Bang Records, and the group found itself working with producer Tom Dowd in what were very unproductive sessions. They still had lots of bookings, and enough hits behind them to remain a thoroughly established act, but by that time the whole notion of soul music was changing around them, due in some measure to a vast array of other acts associated with Atlantic Records, including Wilson Pickett, Otis Redding, Sam & Dave, and Don Covay. The Drifters were never able to make the jump comfortably to this harder brand of soul music, and the loss of Berns as a producer after 1965 seemed to seal their fate. Their own sessions began to show a lack of urgency and organization, exemplified by the fact that one of the very best tracks of Moore's era, "In the Park," was left unfinished (without the group recorded behind him) and in the can for years. The death of George Treadwell in 1967 removed another layer of impetus behind the Drifters' continuation as a going concern.

They continued recording for Atlantic with a succession of producers until 1972. By that time, the company itself was part of a huge corporate conglomerate, far removed from its origins -- Led Zeppelin, Yes, and Emerson, Lake & Palmer were the stars of the Atlantic roster then, and scarcely anyone at the company except Ertegun and Wexler likely even remembered who the Drifters were or how they'd started. Johnny Moore still sang lead, but there were no more hits after the mid-'60s. They tried altering their sound to mainstream adult pop, cutting old-style standards in an effort to capture older listeners. As the hits faded away and the bookings dried up, the group broke up yet again -- in the end, Johnny Moore was the only recognizable Drifter and he did most of the singing on the records as well.

The 1970s saw a proliferation of acts trading on the Drifters name as the rock & roll revival suddenly made the group's classic repertory profitable again. Founding member Bill Pinkney led a group sometimes called "the Original Drifters" while Charlie Thomas led another version and Johnny Moore kept the fully authorized group under the auspices of Treadwell's widow Faye.

The result was a series of lawsuits that ultimately saw the various claimants divide different territories within the United States between them, while the Faye Treadwell-authorized group, led by Johnny Moore, moved to England, where they enjoyed a Top Ten hit in 1972 ("Come on Over to My Place"), falling under the influence of the Roger Cook/Roger Greenaway songwriting team. This incarnation of the group, no longer signed to Atlantic after 1972, was signed to Bell Records. The British-based version of the Drifters became a dance-disco outfit for a time in the late '70s, virtually irrelevant to the group's history, while Pinkney and Thomas maintained contact with the Drifters' roots, and even Jimmy Ricks, who was only in the group for a few months, turned up at some point leading a combo using the name. Ben E. King even returned to the lineup for a tour in the late '80s.

In the 1990s, after decades of conflicting and contradictory claims, a new court ruling determined that Faye Treadwell owned the trademark of the Drifters' name. The death of Johnny Moore in the 1990s brought the end of the era in the group's history, though Bill Pinkney -- the last active original member from the early '50s -- continued to front a group of Drifters up until his death on July 4th, 2007. The late '80s and early '90s also saw a full revival of the group's entire catalog; for decades, from the 1960s through the 1980s, fans and collectors in America had to content themselves with a single LP, the 1968 Golden Hits album, consisting of a selection of the group's early-'60s hits -- none of the McPhatter-era cuts were around, nor were any other tracks from the '60s era. A pair of Rhino Records-inspired double-CD/LP sets helped break this log-jam in the late '80s, and Rhino's 1996 triple-CD set Rockin' & Driftin': The Drifters Box opened the floodgates of their history. That same year, Sequel Records in England issued seven CDs devoted to the group's history, and more recently Collectables Records has been busy re-releasing the group's classic albums on CD. ~ Bruce Eder, Rovi
full bio

Selected Discography


Track List: Grandes Éxitos

1. Stand By Me

2. Spanish Harlem

3. Drip Drop

4. Dance With Me

5. When My Little Girl Is Smiling

6. Under The Boardwalk

7. Please Stay

8. On Broadway

9. This Magic Moment

10. Sweets For My Sweet

11. Ruby Baby

12. Fools Fall In Love

13. There Goes My Baby

15. Saturday Night At The Movies

16. True Love

17. Save The Last Dance For Me

18. Up On The Roof

19. Some Kind Of Wonderful

20. I'll Take You Home


Track List: The Drifters Selection

1. Tie A Yellow Ribbon

2. Tie A Yellow Ribbon

3. Stand By Me

4. Another Saturday Night

5. Cupid

6. Dock Of The Bay

7. I Shot The Sheriff

8. If Loving You Is Wrong

9. Kung Fu Fighting

10. Leroy Brown

11. Me And Bobby Mcgee

12. My Girl

13. On Broadway

14. Ruby Baby

15. Saturday Night At The Movies

16. Save The Last Dance For Me

17. Under The Boardwalk

18. Up On The Roof

19. When My Little Girl Is Smiling

20. Wonderful World


Track List: Save The Last Dance For Me (Single)

1. Save The Last Dance For Me

2. I Shot The Sheriff


Track List: This Magic Moment

1. There Goes My Baby

2. Sweets For My Sweet

3. This Magic Moment

4. Mexican Divorce

5. Didn't It

6. I Feel Good All Over

7. Vaya Con Dios

8. I'll Take You Home

9. In The Land Of Make Believe

10. If You Don't Come Back

11. Let The Music Play


Track List: The Ultimate All Time Greatest Collection

Disc 1

1. Under The Boardwalk

2. Save The Last Dance For Me

3. This Magic Moment

4. Up On The Roof

5. There Goes My Baby

6. On Broadway

8. I've Got Sand In My Shoes

10. Dance With Me

11. Brother Louie

12. My Girl

13. Any Day Now

14. Some Kind Of Wonderful

15. I'll Take You Home

16. Wonderful World

17. Third Rate Romance

18. Short People

19. Lonely Winds

20. I Count The Tears

21. Me And Bobby McGee

22. Macho Man

23. Summertime

24. Rub It In

25. Stand By Me

26. If Loving You Is Wrong (I Don't Want To Be Right)

27. Tie A Yellow Ribbon

28. Please Stay

29. Everlasting Love

30. Night Moves

Disc 2

1. True Love, True Love

2. Come Monday

3. Josephine

4. Another Saturday Night

5. Shake Your Rump To The Funk

7. Get Back

8. Sweets For My Sweet

9. Kung Fu Fighting

10. Midnight Rider

11. I Can Help

12. Ruby Baby

13. Honey Love

15. Dock Of The Bay

16. Let's Groove

17. Sundown

18. I Shot The Sheriff

19. The Twist

21. Cupid

22. Let's Get It On

23. What'd I Say

24. Unchained Melody

25. Saturday Night At The Movies

26. When My Little Girl Is Smiling

27. You Send Me

28. Leroy Brown

29. Money Honey


Track List: Drift And Dream

1. Let The Boogie Woogie Roll (With Clyde McPhatter)

2. Money Honey (With Clyde McPhatter)

3. Lucille (With Clyde McPhatter)

4. The Way I Feel (With Clyde McPhatter)

5. Such A Night (With Clyde McPhatter)

6. Gone

7. Don't Dog Me

8. Bip Bam (With Clyde McPhatter)

9. The Bell's Of St. Mary's

10. White Christmas (Feat. Clyde McPhatter & Bill Pinckney)

11. Honey Love (With Clyde McPhatter)

12. Whatcha Gonna Do

13. Someday You'll Want Me To Want You

14. Three Thirty Three

15. Adorable

16. Your Promise To Be Mine

17. Ruby Baby

18. Steamboat

19. Drifting Away From You

20. Fools Fall In Love

21. Drip Drop

22. Baltimore (Single)

23. There Goes My Baby

24. Oh My Love (Single)

25. (If You Cry) True Love, True Love (Single)

26. Dance With Me

27. This Magic Moment

28. Lonely Winds (Single)

29. Save The Last Dance For Me

30. Nobody But Me (Single)

31. I Count The Tears (Single)

32. Sometimes I Wonder (Single)

33. Room Full Of Tears (Single)

34. Please Stay

35. Sweets For My Sweet

36. Some Kind Of Wonderful

37. Loneliness Or Happiness

38. Mexican Divorce

39. When My Little Girl Is Smiling (Single)

40. Stranger On The Shore (Single)

41. Another Night With The Boys (Single)

42. Up On The Roof

43. Let The Music Play

44. On Broadway

45. Only In America (Live Version)

46. Rat Race

47. If You Don't Come Back

48. I'll Take You Home (Single)

49. In The Land Of Make Believe

50. One Way Love (Single)

51. Vaya Con Dios

52. Under The Boardwalk

53. He's Just A Playboy (Single)

54. I've Got Sand In My Shoes

55. Saturday Night At The Movies

56. At The Club

57. Come On Over To My Place

58. I'll Take You Where The Music's Playing (Single Edit Version)

59. Up In The Streets Of Harlem

60. Memories Are Made Of This


Track List: Rhino Hi-Five: The Drifters [Vol. 2]

1. Under The Boardwalk

2. Drifting Away From You

3. I've Got Sand In My Shoes

5. Adorable


Track List: The Drifters' Greatest Hits

1. There Goes My Baby

2. This Magic Moment

3. Some Kind Of Wonderful

4. Dance With Me

5. Save The Last Dance For Me

6. Sweets For My Sweet

7. Saturday Night At The Movies

8. I'll Take You Home

9. Under The Boardwalk


Track List: Definitive Soul

Disc 1

1. Money Honey

2. Such A Night

3. Lucille

4. Honey Love

5. Bip Bam

6. White Christmas

7. What'cha Gonna Do

8. Adorable

9. Steamboat

10. Ruby Baby

11. I Gotta Get Myself A Woman

12. Fools Fall In Love

13. There Goes My Baby

14. Dance With Me

15. (If You Cry) True Love, True Love

Disc 2

1. This Magic Moment

2. Lonely Winds

3. Save The Last Dance For Me

4. I Count The Tears

5. Some Kind Of Wonderful

6. Please Stay

7. Sweets For My Sweet

8. When My Little Girl Is Smiling

9. Up On The Roof

10. On Broadway

11. I'll Take You Home

12. Under The Boardwalk

13. I've Got Sand In My Shoes

14. Saturday Night At The Movies

15. At The Club


Track List: The Great Drifters

1. There Goes My Baby

2. Dance With Me

3. (If You Cry) True Love, True Love

4. This Magic Moment

5. Save The Last Dance For Me

6. I Count The Tears

7. Some Kind Of Wonderful

8. Please Stay

9. Sweets For My Sweet

10. When My Little Girl Is Smiling

11. Up On The Roof

12. White Christmas

13. On Broadway

14. I'll Take You Home

15. Under The Boardwalk

16. Saturday Night At The Movies


Track List: Save The Last Dance For Me

1. I Count The Tears

2. When My Little Girl Is Smiling


Track List: 16 Greatest Hits

1. There Goes My Baby

2. This Magic Moment

3. Some Kind Of Wonderful

4. Up On The Roof

5. Dance With Me

6. Save The Last Dance For Me

7. Sweets For My Sweet

8. When My Little Girl Is Smiling

9. Under The Boardwalk

10. I Count The Tears

11. Please Stay

12. I'll Take You Home

13. Saturday Night At The Movies

14. On Broadway

15. White Christmas

16. (If You Cry) True Love, True Love


Track List: Magic Moments

1. Dance With Me

2. I Count The Tears

3. On Broadway

4. Please Stay

5. Saturday Night At The Movies

6. Save The Last Dance For Me

7. Some Kind Of Wonderful

8. Sweets For My Sweet

9. There Goes My Baby

10. This Magic Moment

11. True Love True Love

12. Under The Broadwalk

13. Up On The Roof

14. When My Little Girl Is Smiling


Track List: Clyde McPhatter & The Drifters/ Rockin' 'n Driftin'

2. Someday You'll Want Me To Want You

5. The Bells Of St. Mary's

6. White Christmas

9. Warm Your Heart

10. Money Honey

11. What'cha Gonna Do

12. Such A Night

13. Honey Love

15. Moonlight Bay

16. Ruby Baby

17. Drip Drop

18. I Gotta Get Myself A Woman

19. Fools Fall In Love

20. Hypnotized

22. I Know

23. Soldier Of Fortune

25. Your Promise To Be Mine

26. It Was A Tear

27. Adorable

28. Steamboat


Track List: Up On The Roof / Under The Broadwalk

1. Up On The Roof

2. There Goes My Baby

3. Sweets For My Sweet

4. This Magic Moment

5. Mexican Divorce

6. Stranger On The Shore

7. What To Do

8. Save The Last Dance For Me

10. Another Night With The Boys

11. (If You Cry) True Love, True Love

12. Room Full Of Tears

13. When My Little Girl Is Smiling

14. Ruby Baby

15. Under The Boardwalk

16. One Way Love

17. On Broadway

18. Didn't It

19. I Feel Good All Over

20. Vaya Con Dios

21. Up On The Roof

22. Rat Race

23. In The Land Of Make Believe

24. If You Don't Come Back

25. Let The Music Play

26. I'll Take You Home


Track List: Under The Boardwalk and Other Hits

1. Under The Boardwalk

2. I'll Take You Home

3. Rat Race

4. Vaya Con Dios

5. On Broadway

6. Up On The Roof

7. One Way Love

8. I've Got Sand In My Shoes

9. At The Club

10. Saturday Night At The Movies


Track List: Dance With Me

Disc 1

1. Under The Boardwalk

2. Wonderful World

4. If Loving You Is Wrong

5. Up On The Roof

7. Save The Last Dance

8. Dock Of The Bay

9. My Girl

10. Sweets For My Sweet

12. Please Stay

13. Honey Love

14. This Magic Moment

15. Come Monday

17. I'll Take You Home

18. Unchained Melody

Disc 2

1. Midnight Rider

2. I Can Help

3. True Love True Love

4. Some Kind Of Wonderful

5. Stand By Me

6. You Send Me

7. On Broadway

8. When My Little Girl Is Smiling

10. What'd I Say

12. Dance With Me

13. Ruby Baby

14. Money Honey

15. Cupid

16. Summertime

17. Bring It On Home To Me


Track List: Greatest Hits

1. There Goes My Baby

2. Up On The Roof (2016)

3. I Count The Tears

4. Under The Boardwalk (2016)

5. Some Kind Of Wonderful (2016)

6. This Magic Moment (2016)

7. Saturday Night At The Movies (2016)

8. On Broadway (2016)

9. Dance With Me (2016)

10. Save The Last Dance For Me (2016)


Track List: The Very Best of The Drifters

1. There Goes My Baby

2. (If You Cry) True Love, True Love

3. Dance With Me

4. This Magic Moment

5. Save The Last Dance For Me

6. I Count The Tears

7. Some Kind Of Wonderful

8. Please Stay

9. Sweets For My Sweet

10. When My Little Girl Is Smiling

11. Up On The Roof

12. On Broadway

13. I'll Take You Home

14. Under The Boardwalk

15. I've Got Sand In My Shoes

16. Saturday Night At The Movies


Track List: All Time Greatest Hits & More: 1959-1965

Disc 1

1. There Goes My Baby

2. Oh My Love

3. Baltimore

4. Hey Seqorita

5. Dance With Me

6. (If You Cry) True Love, True Love

7. This Magic Moment

8. Lonely Winds

9. Nobody But Me

10. Save The Last Dance For Me

11. I Count The Tears

12. Sometimes I Wonder

13. Please Stay

14. Room Full Of Tears

15. Sweets For My Sweet

16. Some Kind Of Wonderful

17. Loneliness Or Happiness

18. Mexican Divorce

19. Somebody New Dancing With You

20. Jackpot

Disc 2

1. She Never Talked To Me That Way

4. What To Do


Track List: The Good Life With The Drifters

1. Quando, Quando, Quando

2. On The Street Where You Live

3. I Wish You Love

4. Tonight

5. More

6. What Kind Of Fool Am I?

7. The Good Life

8. As Long As She Needs Me

9. Desafinado

10. Who Can I Turn To (When Nobody Needs Me)

11. Saturday Night At The Movies

12. Temptation


Track List: I'll Take You Where The Music's Playing

1. I'll Take You Where The Music's Playing

2. I've Got Sand In My Shoes

3. At The Club

4. I Don't Want To Go On Without You

5. Answer The Phone (US Release)

6. He's Just A Playboy

7. Follow Me (US Release)

8. Spanish Lace (US Release)

9. Chains Of Love (US Release)

10. Far From The Maddening Crowd (US Release)

11. The Outside World (US Release)

12. Come On Over To My Place


Track List: The Christmas Song / I Remember Christmas [Digital 45]

1. The Christmas Song (Chestnuts Roasting On An Open Fire)

2. I Remember Christmas (45 Version)


Track List: Under The Boardwalk

1. Drip Drop (Mono) (Original "Under The Boardwalk" Album)

2. Under The Boardwalk (Mono) (Original "Under The Boardwalk" Album)

3. One Way Love (Mono) (Original "Under The Boardwalk" Album)

4. On Broadway (Mono) (Original "Under The Boardwalk" Album)

5. Didn't It (Mono) (Original "Under The Boardwalk" Album)

6. I Feel Good All Over (Mono) (Original "Under The Boardwalk" Album)

7. Vaya Con Dios (Mono) (Original "Under The Boardwalk" Album)

8. Up On The Roof (Mono) (Original "Under The Boardwalk" Album)

9. Rat Race (Mono) (Original "Under The Boardwalk" Album)

10. In The Land Of Make Believe (Mono) (Original "Under The Boardwalk" Album)

11. If You Don't Come Back (Mono) (Original "Under The Boardwalk" Album)

12. Let The Music Play (Mono) (Original "Under The Boardwalk" Album)

13. I'll Take You Home (Mono) (Original "Under The Boardwalk" Album)


Track List: Sweets For My Sweet

1. Somebody New Dancing With You

2. Jackpot

3. No Sweet Lovin

5. Mexican Divorce

7. On The Street Where You Live

8. I Wish You Love


Track List: Rockin' And Driftin'

1. Moonlight Bay

2. Ruby Baby

3. Drip Drop

4. I Gotta Get Myself A Woman

5. Fools Fall In Love

6. Hypnotized

7. Yodee Yakee

8. I Know

9. Soldier Of Fortune

10. Drifting Away From You

11. Your Promise To Be Mine

12. It Was A Tear

13. Adorable

14. Steamboat


Report as inappropriate
All you have to do is touch my hand.Some kind of wonderful wow great song
Report as inappropriate
Now we're talking. =)
Report as inappropriate
This music is sooooooooo much better than today's crap
Report as inappropriate
Makes me warm inside
Report as inappropriate
I love this song
Report as inappropriate
dragonlady60 8 8
Love this music era
Report as inappropriate
The lead vocals by Rudy Lewis with the Drifters were some of the finest rock and roll and rhythm and blues recordings ever made .
Report as inappropriate
david_e_cohe n
One of the great groups of their era. Or any era.
Report as inappropriate
Love the Drifters' version of White Christmas with Clyde McPhatter
Report as inappropriate
Song : there goes my baby

she came and went LOL
Report as inappropriate
High-school early 60's class of 63.Drifters and the great experience of song and dance still with me.
Report as inappropriate
Good music and good times.
Report as inappropriate
Come by
david...radi o
Report as inappropriate
Report as inappropriate
Lkll be b
Report as inappropriate
K1 k no g lo on hvbmn jo (ksid
Report as inappropriate
This music is unbelievable ! ( t h a n k u!)
Report as inappropriate
Sick of cialis comms, if w/right person wouldn't need it, so there.
Report as inappropriate
Is me Mimi me want to be Mimi,, I want to go caroling with my iPad and your piano mikie!!'
Report as inappropriate
hopefully this will be our last night apart from each other we will be together my Mike your mimi
Report as inappropriate
Did you really know
Report as inappropriate
Easy listening indeed!
Report as inappropriate
justinjenny4 9 5
Report as inappropriate
The Drifters recording of "Nobody But Me "is polished soul at its best.
Report as inappropriate
we will share our love upon our roof together mimi
Report as inappropriate
I remember the first time Jamie played that didn't get right away then I finally did its beautifull baby it reminds me of us mimimike
Report as inappropriate
He did f
Report as inappropriate
The Drifters.... S o m e Kind of Wonderful... . . e s p e c i a l l y the original personel with Rudy Lewis and Benny King .
Report as inappropriate
Report as inappropriate
This song is so :))))))
Report as inappropriate
It doesn't matter who sang lead.They where great
Report as inappropriate
Okay. I love this song
Report as inappropriate
Omg he good
Report as inappropriate
I remember this song from the Sandlot,when the boy kisses the Lifeguard!
Report as inappropriate
Good Music
Report as inappropriate
beaches are for lovers...
Report as inappropriate
I love this song
Report as inappropriate
the best
Report as inappropriate
I was born in 2004 and I listen to oldies because now music talks about nasty stuff and drugs these are good songs with good beat
Report as inappropriate
Isn't this album called Up On The Roof / Under The Boardwalk? Not Broadwalk?
Report as inappropriate
.hello I was born in 1946' fantastic music..... I love Pandora..... . I can remenber
Report as inappropriate
I was born 2001, and I like oldies. by far the most magic song ive heard
Report as inappropriate
The only one group that is the best group of people who are the best group of 1960 era, i love this group, the drifters.
Report as inappropriate
Like this song a lot do you Bobby me to if I only had someone to dance with , you want to dance!!
Report as inappropriate
The Best
Report as inappropriate
Jersey guy should have stayed in Fla.
Report as inappropriate
Not only were the various incarnations of the Drifters great singers and song interpreters , but they had wonderful session musicians and producers behind them, and GREAT SONGWRITERS. Today we have garbage like Beyonce & Kanye. Where did the industry go wrong ?
Report as inappropriate
Jersey guys here
Report as inappropriate
Was Magic
Report as inappropriate
Reminds me being little
Show more

Don't have a Pandora account? Sign up

We're sorry, but a browser plugin or firewall may be preventing Pandora from loading.

In order to use Pandora internet radio, please upgrade to a more current browser.

Please check our Help page for more information.

It looks like your browser does not support modern SSL/TLS. Please upgrade your browser.

If you need help, please email:

In order to use Pandora internet radio, please upgrade to a more current browser
or install a newer version of Flash (v.10 or later).

In order to use Pandora internet radio, please install Adobe Flash (v.10 or later).

[95, 93, 119, 127, 119, 113, 89, 95, 110, 121, 96, 126, 108, 92, 85, 100, 65, 113, 110, 127, 105, 87, 124, 74, 84, 98, 82, 74, 109, 91, 69, 104, 70, 116, 123, 98, 105, 111, 118, 120, 76, 92, 82, 125, 121, 74, 126, 64, 73, 74, 119, 78, 107, 102, 115, 92, 120, 73, 109, 126, 65, 104, 120, 103, 119, 64, 72, 95, 69, 81, 106, 121, 104, 115, 70, 101, 124, 97, 68, 108, 99, 127, 80, 82, 84, 98, 122, 77, 117, 81, 77, 122, 79, 104, 97, 68, 92, 95, 127, 126, 94, 65, 85, 92, 69, 116, 84, 114, 86, 102, 116, 83, 68, 111, 105, 114, 82, 124, 64, 67, 95, 66, 112, 126, 118, 126, 72, 120, 90, 118, 73, 126, 121, 89, 106, 113, 95, 127, 79, 127, 109, 117, 72, 99, 81, 112, 115, 96, 104, 96, 82, 89, 111, 104, 81, 97, 74, 88, 68, 112, 91, 82, 115, 123, 100, 76, 77, 72, 90, 83, 118, 73, 117, 106, 80, 81, 75, 67, 80, 114, 88, 93, 74, 86, 72, 96, 123, 118, 79, 110, 108, 67, 106, 70, 123, 103, 127, 66, 78, 76, 96, 98, 109, 102, 102, 94, 112, 98, 112, 67, 78, 92, 127, 87, 92, 70, 109, 93, 102, 125, 117, 102, 121, 126, 96, 100, 127, 100, 117, 122, 97, 83, 124, 107, 79, 87, 127, 92, 119, 103, 106, 76, 74, 97, 73, 79, 65, 113, 81, 127, 78, 120, 103, 126, 72, 108, 94, 116, 96, 123, 110, 103, 120, 86, 102, 118, 76, 72, 113, 108, 77, 116, 114, 104, 100, 102, 85, 112, 73, 120, 98, 91, 92, 68, 97, 102, 76, 114, 89, 126, 71, 115, 118, 83, 87, 102, 86, 84, 96, 104, 94, 86, 112, 81, 125, 104, 82, 127, 115, 117, 122, 76, 105, 90, 123, 88, 89, 82, 86, 110, 123, 91, 91, 124, 78, 114, 74, 71, 123, 127, 89, 121, 126, 123, 85, 100, 94, 74, 74, 94, 80, 86, 96, 83, 102, 71, 71, 75, 102, 68, 87, 97, 72, 86, 88, 67, 69, 79, 85, 70, 123, 66, 113, 113, 81, 107, 78, 83, 120, 70, 73, 121, 125, 78, 106, 90, 126, 119, 105, 123, 77, 79, 117, 99, 102, 80, 95, 92, 108, 86, 69, 119, 99, 67, 113, 83, 127, 72, 87, 96, 94, 107, 117, 83, 97, 99, 122, 66, 108, 88, 69, 124, 123, 75, 88, 98, 93, 126, 94, 75, 89, 127, 67, 110, 84, 79, 122, 92, 71, 106, 106, 126, 67, 100, 85, 64, 74, 79, 120, 117, 123, 101, 95, 111, 101, 75, 74, 98, 64, 92, 116, 106, 68, 91, 123, 96, 97, 69, 72, 104, 80, 85, 123, 97, 97, 75, 102, 64, 104, 99, 95, 83, 72, 121, 79, 87, 101, 126, 85, 83, 84, 70, 109, 111, 112, 121, 76, 125, 111, 80, 94, 101, 85, 104, 115, 67, 99, 100, 75, 104, 104, 77, 83, 103, 80, 70, 102, 92, 108, 82, 109, 100]