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The Newbeats

The Newbeats were an vocal trio active in the , best known for their 1964 hit single "Bread and Butter", which peaked at number two on the and sold over a million copies. Formed in , the group consisted of lead singer Larry Henley, who provided the distinctive falsetto vocals, and brothers Dean Mathis and Mark Mathis, who handled backing vocals and previously performed as the Dean and Marc Combo. Signed to Hickory Records, they drew influences from Southern R&B and , with Henley joining the Mathis brothers after performing with their band in 1964. The trio's debut single, "Bread and Butter"—written by Jay Turnbow and —captured their playful, novelty-tinged style and also topped the Canadian RPM 100 chart while reaching number 15 in the UK. Follow-up releases included "Everything's Alright" (number 16 on the in 1964) and "Run, Baby Run (Back Into My Arms)" (number 12 in 1965), both of which showcased Henley's soaring against doo-wop-inspired harmonies. A 1971 reissue of "Run, Baby Run" brought renewed success, peaking at number 10 on the . The Newbeats released two albums, Bread & Butter / Big Beat Sounds (1964) and Run, Baby Run (1965), and toured internationally, including with Roy Orbison in , before disbanding in the late 1960s. After the group's dissolution, Henley pursued a successful career as a Nashville songwriter, co-writing the Grammy-winning ballad "The Wind Beneath My Wings" with Jeff Silbar in 1982, while the Mathis brothers largely retired from the spotlight. Henley passed away on December 18, 2014, in Nashville at age 77. The Newbeats' brief but impactful run exemplified the era's blend of pop accessibility and vocal innovation, leaving a legacy tied to their signature novelty hit.

History

Formation and Early Years

The Newbeats formed in 1964 in , as a vocal trio blending pop and elements, consisting of lead singer Larry Henley and brothers Dean and Mark Mathis. The Mathis siblings, hailing from , had relocated to the Shreveport area after high school and were already active in the local music scene, performing on the KWKH radio program's and recording early singles as a duo under names like Dean & Marc for labels such as Chess and . Their instrumental involvement included Dean on and Mark on guitar, reflecting their foundational experiences in and country-infused performances around Shreveport bars and studios. Larry Henley, born in , brought prior experience as a solo performer and aspiring songwriter when he moved to Shreveport to pursue opportunities in the region's vibrant music community. During a local gig, Henley joined the Mathis brothers onstage, impressing them with his distinctive vocals and prompting an invitation to collaborate as a trio. This partnership marked the official start of The Newbeats, with the group focusing on harmonious vocal arrangements that highlighted Henley's lead. In their initial phase, The Newbeats honed their sound through local performances across and demo recordings that captured their close-knit harmonies and upbeat style. These efforts drew attention from Nashville's , particularly after Henley, who had earlier secured a solo deal, leveraged connections to showcase the trio's potential. By early , the group signed with Hickory Records, a Nashville-based label under Wesley Rose's Acuff-Rose Publications, where they began professional sessions to refine their pop-doo-wop fusion.

Rise to Fame

The Newbeats achieved their breakthrough with the release of their debut single "Bread and Butter" in July 1964 on Hickory Records. Written by and Jay Turnbow, the song featured quirky lyrics contrasting simple domestic preferences like bread and butter against toast and jam, delivered in lead singer Larry Henley's distinctive vocal style. It quickly climbed the charts, reaching No. 2 on the in September 1964 and No. 15 on the , selling over one million copies and earning gold certification. The group's follow-up single, "Run, Baby Run (Back Into My Arms)," released in early 1965 and written by and Don Gant, continued their momentum, peaking at No. 12 on the Hot 100. This Motown-influenced track, also sung in , solidified their pop appeal and marked their second major hit. Accompanying the singles, the band released their debut Bread & Butter in 1964, which reached No. 56 on the 200. To promote their success, The Newbeats embarked on national tours and made notable television appearances, including performances of "Bread and Butter" and "Everything's Alright" on American Bandstand in 1964. During 1964-1965, The Newbeats reached their commercial peak with four Top 40 singles on the , including "Everything's Alright" (No. 16 in 1964) and "Break Away (From That Boy)" (No. 40 in 1965), alongside their two biggest hits. This string of releases showcased their harmonious vocal trio sound and helped establish them as a prominent act in the mid-1960s pop landscape.

Decline and Disbandment

Following the success of their 1964-1965 hits, The Newbeats experienced a sharp decline in popularity, with subsequent singles failing to achieve significant chart success. For instance, "It's Really Goodbye," released as a in 1967 on Hickory Records, did not crack the upper echelons of the , reflecting the group's fading commercial appeal after their 1965 hit "Run, Baby Run." The band continued recording for Hickory Records through the late 1960s, but output slowed considerably amid broader shifts in , including the ongoing influence of the and the transition toward harder rock sounds that overshadowed falsetto-driven pop trios like The Newbeats. Internal challenges, such as exhaustion from relentless touring and diminishing audience sizes, further contributed to reduced activity after 1966, with only sporadic releases like the 1969 singles "Thou Shalt Not Steal" and "Groovin' (Out on Life)," which similarly underperformed on the charts. A 1971 reissue of "Run, Baby Run" achieved renewed success, peaking at No. 10 on the . In a bid to revive their career, The Newbeats switched labels in the early 1970s, signing with for the 1973 cover of ' "The Way You Do the Things You Do," which also failed to chart significantly. Their final effort came in 1974 on Playboy Records with "I Know (You Don't Want Me No More)," a cover of Barbara George's R&B classic, marking the end of their recording output. By 1974, the trio—Larry Henley, Dean Mathis, and Mark Mathis—disbanded due to cumulative fatigue from years of performing and the inability to adapt to evolving musical landscapes, effectively concluding their run as an active group with no documented reunions or major one-off performances thereafter.

Members

Larry Henley

Larry Joel Henley was born on June 30, 1937, in . His family relocated to shortly after, where he grew up immersed in the local music scene, influenced by figures like Roy Orbison, a fellow native. Initially drawn to acting, Henley shifted his focus to music in his early adulthood and moved to Nashville in the early 1960s, seeking opportunities in the burgeoning country and pop recording industry. There, he signed as a solo artist with Hickory Records and released several singles, attempting to establish himself as a performer before joining a group. In 1964, Henley joined the pop vocal trio The Newbeats with brothers Dean and Mark Mathis, taking on the role of with his signature high-pitched that defined the group's sound. As a songwriter for the band, he penned several tracks that showcased their harmonious style and contributed vocally to their breakthrough successes, including the Top 10 hits "Bread and Butter" in 1964 and "Run, Baby Run (Back into My Arms)" in 1965. His vocal delivery helped The Newbeats blend rock, pop, and country elements, earning them international tours and television appearances during the mid-1960s. During The Newbeats' peak years, Henley navigated personal challenges alongside his professional rise, having married young and fathered a son at age 19, which marked the start of his family life amid the demands of touring and recording. He would go on to marry and divorce four times, raising four children whose presence grounded his experiences in the music industry.

Dean and Mark Mathis

Dean Mathis (born Louis Aldine Mathis, March 17, 1937, in ) served as the older brother in the Mathis duo and contributed piano and guitar to The Newbeats' sound. Growing up in southern , he relocated to , in 1954 at age 17 to pursue music opportunities in the vibrant local scene, initially hustling for gigs before joining Paul Howard's band as a in 1956 and later backing rockabilly artist in 1957. Mark Mathis (born Marcus Felton Mathis, February 9, 1942, in ) complemented his brother on drums and backing vocals, bringing a rhythmic foundation to the group's performances. The siblings shared a close-knit dynamic forged in their early duo act, where Mark joined Dean in Shreveport shortly after his arrival, performing together and building a repertoire that transitioned from to influences in the local circuit. Before forming The Newbeats, the Mathis brothers collaborated as the duo Dean & Mark, recording for labels like Chess and achieving a minor hit with their 1959 cover of "Tell Him No," which peaked at number 42 on the Hot 100. Their family background played a key role in their musical start, as their mother taught both brothers guitar during childhood, nurturing a shared passion that carried into their professional endeavors. Within The Newbeats, the brothers provided instrumental support and harmony arrangements, contributing to the hit "Bread and Butter" in 1964.

Musical Style and Influences

Vocal Techniques

The Newbeats' signature sound centered on Henley's high-pitched leads, which provided a striking, often jolting contrast to the smoother backing vocals. This technique, characterized by its piercing quality and occasional exclamations like the "No, no!" screams in their recordings, created a distinctive novelty edge that highlighted the lead's emotional delivery. Complementing Henley's leads were tight three-part harmonies from all members, with brothers and Mathis delivering smooth, supportive backing that evoked early vocal group traditions. These harmonies formed a cohesive blend, emphasizing close intervals to maintain a light, unified texture without overpowering the . The group's vocal interplay drew from roots, evolving into an upbeat that prioritized melodic clarity and rhythmic bounce. Production choices further amplified the vocal focus through simple , typically featuring , guitar, and to underpin rather than dominate the singing. Whimsical, narrative —often delivered in a playful, lighthearted manner—were enhanced by catchy hooks and minimal arrangements, as heard in tracks like "Bread and Butter," where the vocals drive the song's infectious, storytelling charm. This approach shifted their sound from doo-wop-inspired harmony groups to a more polished, pop-oriented ensemble.

Comparisons to Other Acts

The Newbeats drew influences from and close-harmony traditions, particularly ' ballad style, which shaped their layered vocal arrangements in early pop and rock contexts. As contemporaries in the vocal group scene, they paralleled acts like through shared emphasis on innovative harmonies in upbeat pop, yet distinguished themselves with a Southern-inflected sound rooted in and origins, contrasting the California surf ethos of or the urban movements. Their Nashville connection via Hickory Records further highlighted this regional flavor, positioning the trio as holdouts of traditions. The British Invasion's dominance in 1964 prompted a strategic to The Newbeats, signaling a modern twist on their harmonious style to compete with incoming acts like and , though it underscored their role as enduring representatives of pre-Invasion U.S. vocal pop.

Discography

Albums

The Newbeats released three studio albums during their active years in the mid-1960s, all on Hickory Records, capitalizing on their style and hit singles. These LPs blended original material with covers of contemporary pop and rock songs, showcasing the group's falsetto-driven sound amid the era. While none achieved massive sales, they provided a platform for extending their chart successes into full-length formats. Their debut album, Bread & Butter, was issued in 1964 and marked the group's commercial breakthrough, peaking at No. 56 on the chart. The 12-track collection centered on the titular hit single, which dominated side A, while the remainder featured upbeat fillers and covers like "So Fine" (a nod to ' doo-wop classic) and "Thou Shalt Not Steal," alongside originals such as "A On Love" and "Tough Little Buggy." Production emphasized the trio's close harmonies and light , with no specific producer credits noted beyond Hickory's in-house team. The full tracklist included: "Bread and Butter," "Bye Bye Love," "The Shoop Shoop Song (It's in His Kiss)," "There Oughta Be a Law (Bout the Stuff I Saw)," "So Fine," "Pink Dally Rue," "Everything's Alright," "A on Love," "," "Tough Little Buggy," "Thou Shalt Not Steal," and "Ain't That Lovin' You Baby." Follow-up Big Beat Sounds by The Newbeats, released in 1965, shifted toward more energetic pop and rock covers without a major hit anchor, resulting in limited commercial traction and no notable chart placement. The album highlighted the group's versatility with lively tracks like "(The Bees Are for the Birds) The Birds Are for the Bees," "Great Balls of Fire," and "Break Away (From That Boy)," blending novelty and rhythm-driven numbers to evoke a "big beat" vibe suited to teen dance scenes. Key inclusions were "I Can't Hear You No More," "Mother-in-Law," "Baby Let's Play House," "Poison Pen," "Hey-O-Daddy-O," "Find Ya Somewhere Else (To Eat Your Crackers)," "Better Watch Your Step," "The Natural," and "Human Kindness," emphasizing covers over originals. Production maintained the simple, harmony-focused approach of their debut, prioritizing vocal interplay over instrumentation. The final studio effort, Run Baby Run, also from 1965 on Hickory Records, peaked at No. 131 on the and served as a career wind-down release, integrating the —a Top 20 single—with later non-charting singles and covers of hits. It featured "Run Baby Run (Back Into My Arms)" prominently, alongside tracks like "," "," "(I Can't Get No) Satisfaction," and "Help," reflecting the group's attempt to align with emerging rock trends while retaining their pop vocal core. The album's tracklist comprised: "Run Baby Run (Back Into My Arms)," "Oh, Pretty Woman," "Hang On Sloopy," "Help," "Little Child," "It's Really Goodbye," "Oh, Girls, Girls," "(I Can't Get No) Satisfaction," "This Old Heart," "," "Mean Woolly Willie," and "Looking for Love." Production notes remain sparse, but the LP underscored the fading momentum post their early hits. In later years, the albums gained archival value through reissues, such as the 2004 CD compilation pairing Bread & Butter and Big Beat Sounds on Ace Records, which restored stereo mixes and added bonus tracks for collectors. Similarly, Ace Records released a 2004 edition of Run Baby Run with 14 bonus cuts from singles, highlighting the group's B-sides and rarities. These efforts preserved the Newbeats' output amid renewed interest in pop harmony groups.

Singles

The Newbeats' singles, primarily issued on Hickory Records during their peak years, functioned as the band's main conduit for commercial success, leveraging Larry Henley's falsetto-driven vocals to achieve several entries in the mid-1960s. These releases often paired original compositions with novelty B-sides, emphasizing catchy, harmonious pop arrangements that appealed to teen audiences. While their initial hits propelled them to national prominence, subsequent singles saw diminishing chart performance, with sporadic releases on other labels through the early 1970s. The group's breakthrough single, "Bread and Butter" backed with "Tough Little Buggy," was released in July 1964 on Hickory Records (catalog 1269) and peaked at No. 2 on the US , selling over one million copies; it also reached No. 15 on the . Written by Larry Parks and Jay Turnbow, the track's whimsical lyrics and rhythmic bounce made it a staple of 1960s radio play. Follow-up "Everything's Alright" / "Pink Dally Rue" (Hickory 1282), penned by John D. Loudermilk, entered the charts in late 1964 and climbed to No. 16 on the Billboard Hot 100, benefiting from regional airplay in the southern US. The A-side's reassuring theme complemented the group's upbeat style, though the novelty B-side saw limited standalone attention. In early 1965, "Break Away (From That Boy)" / "I'm Blue (The Gong-Gong Song)" (Hickory 1305), written by the Mathis brothers, achieved a modest No. 40 peak on the Billboard Hot 100, marking a slight commercial dip but sustaining momentum through its infectious falsetto hook; the B-side's quirky sound earned some regional play. An international version appeared in the UK, though it did not chart there. The band scored their second top-20 hit with "Run, Baby Run (Back Into My Arms)" / "Mean Woolly Willie" ( 1332) in late 1965, reaching No. 12 on the ; a 1971 reissue peaked at No. 10 in the UK. Songwriters and Don Gant crafted the A-side's narrative of reconciliation, while the B-side's humorous Western theme provided contrast. This single underscored their role in the pop vocal trio trend. Subsequent efforts included "The Birds Are for the Bees" / "Hand It Over" ( 1321) in mid-1965, which bubbled to No. 50 on the with songwriting credits to Parks, Turnbow, and Bob Finnicum; the track's playful metaphor drew minor airplay but failed to replicate prior success. By 1966, "Shake Hands (And Come Out Crying)" / "Too Sweet to Be Forgotten" ( 1384) stalled near the bottom of the , reflecting waning label support amid shifting musical tastes. Non-charting B-sides like "A Patent on Love," an early flip side in some regional pressings, highlighted songwriter experimentation but saw no national traction. In the late 1960s, the group attempted a comeback with "Thou Shalt Not Steal" / "" (Hickory 1969 reissue), a Loudermilk composition that reached No. 128 on Billboard's , gaining limited regional airplay through its moralistic lyrics and B-side cover. Further singles on , such as "The Way You Do the Things You Do" in 1973—a cover of ' —received minimal promotion and did not . By 1974, on Playboy Records, "I Know (You Don't Want Me No More)," another cover (originally by Barbara George), marked their final known release, with no entry but notes of southern radio pick-up. UK versions of early hits like "Bread and Butter" appeared on London-Hickory, but later material had no international impact.

Legacy

Later Careers

After the Newbeats disbanded in 1974, Larry Henley shifted his focus to songwriting in Nashville, where he built a prolific career collaborating with other writers and artists. He co-wrote the ballad "Wind Beneath My Wings" with Jeff Silbar in 1982, which became a No. 4 country hit for Gary Morris in 1983 and later a No. 1 pop single for Bette Midler in 1989 from the film Beaches, earning a Grammy Award for Song of the Year. Henley continued session work and collaborations, including hits like "The Last Thing on My Mind" for Neil Diamond, until his death in Nashville on December 18, 2014, at age 77. Dean Mathis returned to local music scenes in the Shreveport area, continuing to perform and record in . In the mid-1970s, he pioneered re-recording classic hits for compilations with labels like K-Tel and Gusto alongside producer Stan Shulman. Settling in , Mathis took on production roles and maintained a low-key performing career, playing monthly gigs at venues like Latte Kaffe with his son and nephew, as well as tributes at nursing homes in and to entertain seniors with familiar tunes. Though he considered himself retired from full-time music around age 70 in the early , he has participated in occasional interviews and tributes into the 2020s. Marc Mathis relocated to Nashville, where he largely stepped away from performing to pursue non-music ventures. He owned and operated Variety Plus, a business, reflecting a connection to the entertainment industry without direct musical output. Limited documentation exists of his 1980s–2000s activities, suggesting a low-profile life focused outside professional music. The Newbeats saw no formal group reunions after 1974, though their catalog endured through reissues and compilations in the 1990s, such as the A Golden Classics Edition on Collectables Records, without new involvement from the surviving members.

Cultural Impact

The Newbeats' signature hit "Bread and Butter" has endured in popular culture through its appearances in film and advertising. The song features in the 2004 comedy Anchorman: The Legend of Ron Burgundy, playing during a memorable scene of a cat fashion show on the news. It also appears in the 1998 animated film The Brave Little Toaster Goes to Mars. The track's catchy melody inspired commercial jingles in the during the late . A 1981 Sunbeam advertisement adapted the tune with lyrics like "I like and , I like and , I like the taste of , the world's best ." Similarly, Schmidt Baking Company used a variation in their 1970s and 1980s ads, promoting their products with the familiar refrain to evoke the song's playful harmony. "Bread and Butter" has been covered by notable artists, extending its reach across genres and decades. Devo included a version on the for the 1986 9½ Weeks, blending the original's pop charm with flair. Other covers include renditions by in 1968 and in 1966, highlighting the song's adaptability in styles. Though frequently categorized as a archetype due to the dominance of "Bread and Butter," The Newbeats charted four Top 40 singles on the , including "Run, Baby, Run (Back Into My Arms)" at No. 12. Their distinctive falsetto-driven harmony pop influenced the novelty sound of later acts, contributing to a revival of exaggerated vocal techniques in and pop. The group's work remains a favorite in retro compilations and radio specials, such as those hosted by , underscoring its lasting whimsical appeal. Recognition of The Newbeats' contributions includes archival reissues that have preserved their catalog for new audiences. The 1995 compilation A Golden Classics Edition collected key tracks like "Bread and Butter" and "Everything's Alright" on . Further reissues in the , such as the 2004 import of "Run Baby Run," reflect ongoing interest in their brief but impactful . While modern streaming metrics are modest, indicating a niche following, the band's music continues to resonate in specialized pop revival contexts without significant revivals.

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