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"Hey Joe"
Single by Carl Smith
B-side"Darlin' Am I The One"
PublishedJuly 17, 1953
ReleasedMay 19, 1953 (1953-05-19)
GenreCountry
Length2:28
LabelColumbia
SongwriterBoudleaux Bryant
Carl Smith singles chronology
"Do I Like It?"
(1953) 		"Hey Joe"
(1953) 		"Satisfaction Guaranteed"
(1953)

"Hey Joe!" is a 1953 popular song written by Boudleaux Bryant. It was recorded by Carl Smith for Columbia Records on 19 May 1953 and spent eight weeks at No. 1 on the US country music chart,[1] marking Bryant's first no. 1 record. He later wrote songs with his wife Felice for The Everly Brothers.[2] The song was first published in New York on July 17, 1953, as "Hey, Joe".[3]

A contemporary cover version by Frankie Laine was a hit on the Billboard chart, and also reached No. 1 in the UK Singles Chart.[2][4] Later that year, Kitty Wells recorded an answer record, also titled "Hey Joe", which hit No. 8 on the Jukebox Country & Western chart.[5]

Frankie Laine recording

[edit]
"Hey Joe!"
Single by Frankie Laine
with Paul Weston and his Orchestra
and The Norman Luboff Choir
Carl Fischer-Piano
B-side"Sittin' In The Sun (Countin' My Money)"
PublishedJuly 17, 1953
ReleasedJuly 6, 1953 (1953-07-06)
RecordedJune 22, 1953
StudioRadio Recorders (Hollywood, California)
GenreCountry, traditional pop
Length2:18
LabelColumbia
SongwriterBoudleaux Bryant
ProducerMitch Miller

A pop cover of "Hey Joe!" was made by Frankie Laine on June 22, 1953, at Radio Recorders in Hollywood, with Paul Weston and his Orchestra and the Norman Luboff Choir, also featuring Carl Fischer on piano.[6][7][8] Produced by Mitch Miller, the single was released by Columbia (the same label who issued the Carl Smith version) on July 6. It was featured in Billboard's New Records To Watch, with the magazine commenting, "It's a good tune for Laine, and he handles it in his customary exciting style."[9] Laine's "Hey Joe!" entered Billboard's Best Selling Singles chart on August 22, where it peaked at No. 6.[4][10]

In the UK, Laine's recording was an even bigger success. Released by Philips in August 1953, it entered the New Musical Express singles chart on October 16, 1953.[11][12] "Hey Joe!" reached No. 1 on the UK Singles Chart the following week, October 23.[2] It was Laine's second UK chart topper, but unlike his record-breaking hit "I Believe", "Hey Joe!" only stayed on the chart for eight weeks, including two at No. 1. On October 23, Laine had three singles in the chart, which at that time consisted of only twelve positions. The following week, Laine's third No. 1 hit in the UK, "Answer Me", entered the chart, giving him a third of all the records on the listing.[2]

Other contemporary recordings

[edit]

The version by Carl Smith charted at No. 1 on the US country chart, but did not appear on the overall Best Selling Singles listing.[13] Similarly, another country recording, by Kitty Wells, only made the country chart, peaking at No. 8.[14]

In the UK's sheet music sales chart, "Hey Joe" first made the top 20 on October 3, 1953, and peaked at No. 14 in a nine-week run. Aside from the popular version by Frankie Laine, just two other contemporary cover recordings were available in the UK, by British singers Ronnie Meede (released on Decca in September) and Frankie Vaughan (issued by His Master's Voice in October).[15]

Later recordings

[edit]
  • Moe Bandy and Joe Stampley recorded a new version of the song with the modified title "Hey Joe, Hey Moe", with lyrics specially rewritten for the project by Boudleaux Bryant, as the title song to a duet album issued in 1981. The song, released as the lead single to the album, was a top 10 country hit that year.[16]
  • On the Statler Brothers' unusual comic album Alive At The Johnny Mack Brown High School, released in 1974 under their alias Lester "Roadhog" Moran & The Cadillac Cowboys, the first song after the band's theme song is "Hey Joe".[17]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Hey Joe!

View on Grokipedia
from Grokipedia
"Hey Joe" is a rock standard written by American songwriter Billy Roberts and first copyrighted in 1962, telling the story of a man who shoots his unfaithful wife and flees to . The song's authorship has been subject to , with claims from Roberts' ex-girlfriend Niela Halleck that she composed an earlier version titled "Baby, Please Don’t Go to Town" in the mid-1950s, folk singer asserting it was a traditional number, as well as initial credits to Dino Valenti, who later admitted bluffing about writing it, though no pre-1962 recordings support these alternative origins. The song gained initial commercial traction through a 1965 recording by Los Angeles garage rock band , whose version—after multiple releases in 1965 and 1966—peaked at number 31 on the chart. It became a live staple on the 1960s U.S. West Coast scene, performed by acts like and , before folk-rocker Tim Rose's slower arrangement in early 1966 influenced broader interpretations. The Jimi Hendrix Experience's cover, recorded on October 23, 1966, at in and produced by , transformed the track into a anthem with Hendrix's innovative guitar work, backed by on bass and on drums. Released as the band's debut single on December 16, 1966, in the UK via , it reached number 6 on the Official Singles Chart and marked Hendrix's breakthrough in . In the United States, it appeared as the opening track on the 1967 album ?, contributing to the record's massive success and cementing "Hey Joe" as one of rock music's most enduring songs. Since Hendrix's version, "Hey Joe" has been covered extensively by artists including , , and , and remains a benchmark for guitar-driven rock narratives, with its raw emotional intensity and thematic depth continuing to resonate in music .

Song Origins

Authorship and Composition

"Hey Joe" is credited to Billy Roberts as its primary author, a folk musician active in the during the late 1950s and early 1960s. Roberts, who performed regularly in Seattle-area clubs such as those on the local folk scene, is said to have composed and debuted the song around 1955–1960, drawing from traditional folk influences like the "." He registered the copyright for "Hey Joe (Where You Gonna Go)" with the U.S. in 1962, which included the first known publication of the composition. The song began circulating in American folk circles shortly after Roberts' performances, gaining traction among West Coast musicians through informal sharing before its commercial breakthrough. By the early 1960s, it had spread via the folk scene, where Roberts busked and recorded a demo around 1961–1962. This timeline its as a modern folk composition, distinct from older precursors, with Roberts' 1962 registration solidifying his legal claim. Authorship disputes arose in the when Dino Valenti, leader of , claimed co-authorship and registered a version in 1963, asserting Roberts had transferred publishing rights to fund his legal defense. Valenti's publisher, Third Story Music, initially received royalties from early recordings, leading to prolonged conflicts over ownership. Folk singer also asserted that the song was a traditional number, though no pre-1962 recordings support this or other alternative origins beyond Roberts' version. These disputes were resolved with Roberts recognized as the primary , retaining the majority of royalties, though arrangements with Valenti's publisher involved sharing some publishing income, ensuring Roberts' enduring recognition as the song's originator.

Influences and Early Versions

The song "Hey Joe" draws from a lineage of American folk traditions, particularly that narrate tales of jealousy, violence, and flight. Its melody closely resembles that of the traditional tune underlying "," a recounting a man's killing of his lover and subsequent escape, which has been documented in various folk recordings since the early 20th century. Scholars have noted structural parallels in the narrative arc of confrontation, homicide, and evasion, positioning "Hey Joe" within this broader folk canon. Further influences appear in blues standards like "," a 19th-century-derived about a fatal barroom shooting over a personal slight, which shares thematic elements of impulsive male violence and its consequences, though "Hey Joe" adapts these into a more linear format. The song also echoes the title and lighthearted country vibe of Carl Smith's 1953 hit "Hey Joe!," a chart-topping track written by Boudleaux Bryant that playfully questions a friend's new romantic interest, but diverges sharply in lyrics and tone from the later rock standard's darker themes. A direct precursor is Niela Miller's "Baby, Please Don't Go to Town," composed around 1955 during her relationship with , which features a similar melody and theme of departure but from a female perspective on urban disillusionment. adapted and rewrote it into the male-centered murder narrative of "Hey Joe," copyrighting his version in 1962 as the standardized composition. Roberts performed "Hey Joe" live in Washington state's burgeoning folk scenes during the late 1950s, including club appearances amid the and folk revival. The song circulated orally among West Coast musicians before 1962, with Roberts sharing it during travels and swaps in and beyond, fostering its adaptation in informal settings like Paris gigs in 1960. No verified commercial recordings of "Hey Joe" exist prior to 1965, though it appeared in early folk anthologies and circulated via bootleg tapes, including a circa-1961 demo by Roberts featuring the song amid traditional folk material.

Lyrics and Interpretation

Structure and Content

"Hey Joe" employs a straightforward verse-chorus structure, comprising verses that advance the interspersed with a recurring chorus. This format builds a narrative through call-and-response elements, where questions prompt Joe's responses. The song is in the key of E major in the version, with earlier folk versions often transcribed in E or , utilizing a blues-derived of I-VII-IV, such as E-D-A. Musically, the piece is in 4/4 time, providing a steady, driving suitable for both acoustic folk and electric rock arrangements. This consistency underscores the song's adaptability across genres while preserving its core bluesy inflection. The trace a linear arc: Joe is questioned about his intentions upon encountering him armed, he confesses to discovering his wife's and his plan to kill her, the act is confirmed after the fact with his admission, and he announces his flight to to evade capture. Early lyric sheets exhibit minor variations between folk and rock iterations, such as "gun in my hand" in predominant versions versus "rifle in my hand" in select transcriptions, reflecting oral transmission in pre-recorded performances. The full standard lyrics, as copyrighted by Billy Roberts in 1962 and popularized in the recording, are as follows: Verse 1
Hey Joe, where you goin' with that gun in your hand?
Hey Joe, I said, where you goin' with that gun in your hand?
I'm goin' down to shoot my old lady
You know I caught her messin' 'round with another man.
I'm goin' down to shoot my old lady
You know I caught her messin' 'round with another man.
And that ain't too cool. Chorus
Hey Joe, I heard you shot your woman down, you shot her down to the ground.
Hey Joe, I heard you shot your old lady down, you shot her down to the ground.
Yes, I did, I shot her, you know I shot her down to the ground.
Yes, I did, I shot her, you know I shot her down to the ground. Verse 2
Hey Joe, said now, where you gonna run to now? Where you gonna go?
Hey Joe, I said, where you gonna run to now? Where you gonna go?
I'm goin' way down south, way down to way.
I'm gonna run, run, run, you know I'll run, I just can't stay.
Ain't no hangman gonna put a around me.
You know I just can't . These lyrics encapsulate central motifs of and , driving the song's dramatic tension through Joe's escalating predicament.

Themes and Cultural Significance

The song "Hey Joe" centers on themes of , , and escape, narrating a man's discovery of his partner's , his subsequent act of shooting her, and his flight to to evade capture. This storyline embodies a classic archetype of male rage directed at perceived female , rooted in the tradition of American such as "Frankie and Johnny" and "," where interpersonal conflict escalates to lethal . Within the , the protagonist's southward journey has been interpreted as a for personal liberation and resistance against authoritarian structures, symbolizing a break from societal constraints and conventional morality amid the era's widespread experimentation and . Cultural critiques often highlight the song's misogynistic undertones, framing the woman's death as deserved punishment for infidelity and perpetuating narratives of that normalize male dominance. This perspective has fueled discussions in , contrasting with rock interpretations that recast the narrative for empowerment, notably in Patti Smith's 1974 version, which reimagines Joe as in a radical act of subversion against . The song maintains enduring appeal in protest music and for its raw exploration of power dynamics and , with Jimi Hendrix's performance featured prominently in the 1968 rock documentary , underscoring its role as a countercultural touchstone.

Recordings

Early Commercial Recordings (1965-1966)

The song "Hey Joe," drawing from earlier folk traditions, entered commercial recording in 1965 through the garage rock scene, where bands adapted its raw narrative into electrified rock arrangements. The Leaves released the first studio version as a single in 1965 on Records (catalog 207), capturing an energetic, uptempo style with prominent guitar and drumming. The band re-recorded the track for a second single ( 222) in 1966, which peaked at number 31 on the chart after nine weeks, noted for its raw delivery, fuzzed guitar riffs, and wild vocals that exemplified the gritty garage aesthetic. Love included a version on their self-titled debut , released in May 1966 by , produced by and Mark Abramson. Recorded at Sunset Sound in early 1966, the track featured the band's signature blend of R&B and emerging psychedelic influences, with Lee's introspective vocals and layered instrumentation adding a hazy, atmospheric edge to the song's structure. The Byrds recorded "Hey Joe (Where You Gonna Go)" for their third , Fifth Dimension, released on July 18, 1966, by . provided lead vocals and distinctive harmonies, contributing to the version's polished folk-rock sound that contrasted with the garage rawness of contemporaries, though some noted its smoother production as diluting the song's edge. The album achieved commercial success, peaking at number 24 on the 200. In the same year, other acts proliferated the song's popularity within the milieu; featured it on their debut album (Tower Records, released October 1966), delivering a punchy, organ-driven take, while included a tense, distorted rendition on their album (Okeh Records, released December 1966), underscoring the track's rapid spread in the regional scene.

The Jimi Hendrix Experience Version

The Jimi Hendrix Experience recorded "Hey Joe" on October 23, 1966, at in , marking their first studio session as a band. Produced by , the former bassist of who had recently become Hendrix's manager, the track was captured in a single day with minimal takes, emphasizing Hendrix's raw energy and improvisational style. Hendrix employed innovative guitar techniques, including controlled feedback and the , to transform the song's folk roots into a electrified blues-rock format, creating a signature sound that blended psychedelic elements with aggressive distortion. The recording features a blues-rock driven by an extended introductory guitar riff, where Hendrix's delivers a haunting, descending melody layered with fuzz tone. Noel provides a steady, walking bass line that anchors the rhythm, while Mitch Mitchell's dynamic drumming—characterized by jazz-influenced fills and a loose, propulsive groove—adds tension and propulsion throughout the 3:26 runtime. This configuration highlighted the trio's chemistry, with Hendrix's dominating but supported by the band's tight interplay. Released as the band's debut single on December 16, 1966, via in the UK, "Hey Joe" was backed by the original composition on the B-side. The single quickly established the in the British scene, following initial live performances that built anticipation. The debuted "Hey Joe" live in October 1966 during their European tour, with a notable performance at the Olympia on that showcased Hendrix's presence and guitar to an enthusiastic . These early shows, just days before the studio recording, helped refine the arrangement and generate buzz among promoters and fans.

Later Covers and Performances

Following the success of the Experience's 1966 recording, which established "Hey Joe" as a rock standard, numerous artists reinterpreted the song across diverse genres starting in the late . 's 1967 psych-pop version, featured on her album , infused the track with a lighter, more melodic arrangement and peaked at number 94 on the Hot 100. That same year, French rock icon released an adaptation titled "Hey Joe," the first prominent French-language version, which adapted the lyrics by Thibaut while retaining the original's narrative intensity and became a staple in his live performances through the and beyond. In 1968, British pioneers delivered a heavier, proto-metal rendition on their debut album , emphasizing organ-driven riffs and ' soaring vocals to shift the song toward a psychedelic sound. Soul singer followed in 1969 with a gritty R&B-infused take on his album Right On, produced by , which peaked at number 59 on the and highlighted Pickett's raw, emotive delivery. By 1974, offered a punk-infused reinterpretation on her debut single "Hey Joe (Version)," backed by on guitar, transforming the track into a spoken-word poetry piece with chaotic energy that previewed her album Horses. The 1980s and 1990s saw further genre explorations, with and the Bad Seeds recording a brooding, version in 1986 for their covers album , where Cave's baritone narration amplified the song's themes of betrayal and flight. In the reggae realm, Jamaican roots group provided a notable 1990 adaptation on their album Now, featuring on lead vocals and a laid-back that incorporated dub elements, exemplifying the song's shift into influences. Into the 2000s and beyond, "Hey Joe" inspired large-scale communal performances, underscoring its enduring appeal. On May 1, 2025, 8,122 guitarists gathered in Wrocław, Poland's market square—led by artists including —for a synchronized rendition, officially recognized by as the largest guitar ensemble performance of the song (as of November 2025). These reinterpretations demonstrate the song's versatility, from and punk to and , often building on Hendrix's benchmark while adapting to new stylistic contexts.

Legacy

Chart Performance and Certifications

The Leaves' 1966 recording of "Hey Joe" achieved commercial success in the United States, peaking at number 31 on the Billboard Hot 100 chart in July of that year and spending nine weeks on the listing. The single marked the band's only major hit and did not appear on international charts. The Jimi Hendrix Experience's version, released as their debut single in December 1966, became a breakthrough in the United Kingdom, entering the UK Singles Chart in January 1967 and reaching a peak position of number 6, where it remained for 10 weeks. In 2019, the British Phonographic Industry (BPI) certified the single Silver for sales and streaming equivalent to 200,000 units. Upon its US release in May 1967, the single failed to enter the Billboard Hot 100. Cher's cover, included on her 1967 album , was issued as a single and briefly charted in the United States, peaking at number 94 on the for two weeks in September 1967. Wilson Pickett's 1969 rendition, featured on his album Right On, performed modestly on American charts, reaching number 59 on the and number 29 on the chart in August 1969. Early versions of the song, including those by and others from the mid-1960s, received no major certifications, reflecting the limited formal award systems for singles in that era prior to widespread sales tracking and streaming metrics.

Influence on Music and Culture

"Hey Joe," particularly in Jimi Hendrix's rendition, played a pivotal role in the evolution of by fusing traditional structures with innovative guitar effects and dynamic pacing, creating a menacing atmosphere that bridged earlier traditions with emerging psychedelic experimentation. This blend of raw riffs and rock intensity helped propel Hendrix's debut single to prominence in the UK, influencing the tail end of the by reintroducing American-rooted guitar innovation to British audiences amid the dominance of bands like and . The song's heavy, distorted guitar work and narrative drive also contributed to the foundations of 1970s , inspiring heavier riff-based compositions in acts that followed Hendrix's trailblazing style. The track has inspired tributes from prominent artists across generations, underscoring its enduring appeal as a rock standard. The Who incorporated "Hey Joe" into their live sets during the 1989 tour, adapting Hendrix's arrangement with extended guitar solos that highlighted Pete Townshend's admiration for the original's intensity. In more recent years, acts have referenced Hendrix's influence, perpetuating the song's legacy in contemporary indie and scenes. Hendrix's electrifying performances, including his iconic 1969 Woodstock set, further elevated "Hey Joe" as a symbol of revolutionary guitar artistry, amplifying its cultural stature during the era. Culturally, "Hey Joe" resonated during the era as a narrative of desperate escape and rebellion against societal constraints, with its protagonist fleeing to after an mirroring themes of evasion and disillusionment prevalent in anti-war discourse. The song has appeared in notable films and television, such as the 1993 comedy , where it accompanies a scene of group camaraderie and rock enthusiasm, embedding it in depictions of 1960s-inspired . It has also featured in montages evoking the era's turmoil, including pairings with imagery in retrospective documentaries. A striking cultural milestone is the annual mass guitar performance in Wrocław, , which has repeatedly set for the largest ensemble playing a single song; notable achievements include 1,876 guitarists in 2007, 7,968 in 2023 led by , and 8,122 in 2025. In modern contexts, "Hey Joe" maintains relevance through sampling in hip-hop, particularly in the , where its and structure were repurposed to explore themes of conflict and escape; for example, the Italian hip-hop group Isola Posse All Stars sampled it in their 1991 track "Stop Al Panico!" to layer over the original's tension. Additionally, the song's portrayal of gendered violence has drawn scrutiny in , with analyses highlighting how its normalize male aggression against women as a response to , reinforcing patriarchal norms in . Scholars have examined reinterpretations, such as Patti Smith's punk version, which subverts the narrative by invoking to shift the violence from misogynistic to revolutionary, challenging the original's dynamics. These discussions position "Hey Joe" as a in how rock perpetuate or critique societal attitudes toward .

References

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