Watch Paul & Paula Remake Love Hit "Hey Paula" 50 Years Later

About the Song

Ah, “Hey Paula,” the song that practically defines the early 1960s with its sweet melody and innocent charm. This infectious tune by the duo Paul & Paula wasn’t just a hit record; it became a cultural phenomenon, capturing the hearts of teenagers and topping the charts in 1963.

But “Hey Paula” is more than just a catchy earworm. It’s a quintessential example of the doo-wop genre, a style of vocal harmony popular in the 1950s and early 1960s. Characterized by its tight harmonies, simple lyrics, and driving rhythms, doo-wop music often revolved around themes of young love and teenage dreams – themes perfectly embodied by “Hey Paula.”

The song opens with a simple yet effective drumbeat, setting the stage for the iconic call-and-response vocals of Paul (Ray Hildebrand) and Paula (Jill Jackson). Their voices blend seamlessly, creating a sweet and harmonious melody that lingers in your ear long after the song has ended.

The lyrics are as uncomplicated as the music, focusing on a young man’s declaration of love for Paula. He expresses his eagerness to marry her after school ends, painting a picture of a future filled with happiness and commitment. Paula’s response is equally enthusiastic, mirroring his feelings and highlighting the mutual affection between the two.

“Hey Paula” doesn’t delve into complex emotions or tackle life’s harsh realities. Instead, it celebrates the simple joy and excitement of young love. It’s a song that evokes feelings of nostalgia, reminding us of a time when life seemed simpler and dreams seemed boundless.

The song’s enduring popularity is a testament to its timeless appeal. “Hey Paula” continues to be played at oldies shows and featured in movies and television shows, reminding new generations of the power of love songs and the enduring appeal of doo-wop music.

Paul & Paula - Wikipedia

Video

Lyrics: Hey Paula

[Verse 1: Ray Hildebrand]
Hey, hey, Paula
I wanna marry you
Hey, hey Paula
No one else could ever do
I’ve waited so long for school to be through
Paula, I can’t wait no more for you
My love, my love

[Chorus: Ray Hildebrand & Jill Jackson]
True love means planning a life for two
Being together the whole day through
True love means waiting and hoping that soon
Wishes we made will come true
My love, my love

[Verse 2: Jill Jackson]
Hey, Paul
I’ve been waiting for you
Hey, hey, hey Paul
I want to marry you, too
If you love me true, if you love me still
Our love will always be real
My love, my love

[Chorus: Ray Hildebrand & Jill Jackson]
True love means planning a life for two
Being together the whole day through
True love means waiting and hoping that soon
Wishes we made will come true
My love, my love

You Missed

Billy Joe Shaver first caught Waylon Jennings’ eye at Willie Nelson’s Dripping Springs Reunion back in 1972 while passing a guitar around backstage and picking “Willy the Wandering Gypsy and Me.” Waylon immediately stopped in his tracks, learned the chords on the spot, and promised to record the material. Instead of a quick cut, Shaver found himself stuck in Nashville for six months trying to collect on that promise while dealing with empty pockets and a songwriter dodging his calls. A sympathetic DJ eventually smuggled him right into one of Waylon’s studio dates. Still trying to brush him off, Waylon handed over a hundred-dollar bill with strict instructions to clear out. Shaver was broke enough to desperately need the cash, yet his pride won out. He fired the money right back with a harsh insult, prompting a furious Waylon to storm out into the hallway surrounded by a crowd. Shaver stood his ground and told him straight: listen to the songs, or catch a beating right there in front of God and everybody. Waylon finally sat down and listened. One track led to another until Jennings scrapped his own plans and built an entire record around Shaver’s writing. Released in 1973, Honky Tonk Heroes packed nine of Billy Joe’s compositions and turned into a crown jewel of the outlaw movement. The recording room stayed just as volatile, with Shaver loudly arguing over arrangement choices and accusing Waylon of altering his vision. Yet that exact friction gave the record its teeth. Waylon had just fought RCA for total creative freedom, and Billy Joe Shaver proved stubborn enough to demand that exact same respect for the words on the page.