“Stay” by Maurice Williams & The Zodiacs

Forever No. 1 is a Billboard series that pays special tribute to the recently deceased artists who achieved the highest honor our charts have to offer—a Billboard Hot 100 No. 1 single—by taking an extended look back at the chart-topping songs that made them part of this exclusive club. Here, we honor the late Maurice Williams, who died on Aug. 5 at age 86, by looking at his lone No. 1, the doo-wop classic “Stay,” which he recorded as the frontman of Maurice Williams & the Zodiacs.

Maurice Williams, Writer and Lead Singer of ‘Stay,’ Dies at 86

Maurice Williams & the Zodiacs meet the most common definition of one-hit wonders, as they had just one top 40 hit on the Billboard Hot 100 – but, boy, what a hit. Their doo-wop classic “Stay” reached No. 1 in November 1960, sandwiched between two other top-tier classics, Ray Charles’ “Georgia on My Mind” and Elvis Presley’s “Are You Lonesome Tonight?”

Over backing chants of “Stay!” by his fellow group members, Williams carries much of the song and its plea to a girl to stay out longer than she is supposed to. Her Daddy and Mommy won’t mind, Williams argues, not entirely convincingly. Midway, he steps back and hands the lead to Henry Gaston for one of pop music’s most unforgettable falsetto shouts—“Oh, won’t you stay, just a little bit longer!”

Williams wrote the song in 1953 when he was just 15. The song was inspired by his crush on one Mary Shropshire. “[Mary] was the one I was trying to get to stay a little longer,” Williams told the North Carolina publication Our State in 2012. “Of course, she couldn’t.”

“It took me about 30 minutes to write ‘Stay,’ then I threw it away,” Williams told ClassicsBands.com. “We were looking for songs to record as Maurice Williams & The Zodiacs. I was over at my girlfriend’s house playing the tape of songs I had written, when her little sister said, ‘Please do the song with the high voice in it.’ I knew she meant ‘Stay.’ She was about 12 years old and I said to myself, ‘She’s the age of record buying,’ and the rest is history. I thank God for her.”

The Zodiacs’ producer, Phil Gernhard, took the demo to New York City and played it for all the label reps that he knew. Al Silver of Herald Records insisted the song be re-recorded as the recording levels were too low. He also said that one line, “Let’s have another smoke,” would have to be removed for the song to be played on commercial radio.

The track runs just 1:38. It is the shortest of the 1,174 singles that have reached No. 1 on the Hot 100. Despite its historic brevity, the record never feels that short. It’s simply exactly as long as it needed to be to tell its story. It’s to the group’s and Gernhard’s credit that they didn’t pad it just to make it longer.

The song entered the Hot 100 at No. 86 on Oct. 3, 1960 – though in a gaffe, Williams was credited as a solo artist. The billing was changed to Maurice Williams and the Zodiacs in Week 2, when the record vaulted to No. 40. The record hit the top 10 on Nov. 7 (when another great R&B record, The Drifters’ “Save the Last Dance for Me,” was No. 1). Two weeks later, it reached No. 1.

“Stay” was only the third No. 1 in Hot 100 history (which commenced in August 1958) that was both written and recorded by a Black artist. It followed Lloyd Price’s “Stagger Lee” and Dave “Baby” Cortez’s instrumental smash “The Happy Organ.”

Williams and the Zodiacs’ recording of “Stay” was the first major hit for producer Gernhard, who returned to the top five on the Hot 100 in the ’60s and ’70s as the producer of The Royal Guardmen’s novelty hit “Snoopy vs. the Red Baron,” Dion’s poignant “Abraham, Martin and John,” Lobo’s “Me and You and a Dog Named Boo” and “I’d Love You to Want Me,” Jim Stafford’s “Spiders and Snakes,” and The Bellamy Brothers’ “Let Your Love Flow,” the latter, Gernhard’s second No. 1 on the Hot 100.

Williams and the Zodiacs had two more Hot 100 hits in 1961, but both were minor – “I Remember” (No. 86) and “Come Along” (No. 83). The group had broken through near the tail-end of doo-wop’s peak. Few doo-wop artists outside of the 4 Seasons, which had doo-wop roots, had extensive pop careers as Motown and, starting in 1964, the British invasion took over. A 1965 Williams song, “May I,” seemed promising, but the group’s label, Vee-Jay, went bankrupt just as the song was coming out. “May I” would become a top 40 hit in March 1969 for a white pop group, Bill Deal & the Rhondels.

Williams had had that same frustrating experience, on a much bigger scale, in 1957, when his group The Gladiolas released the original version of “Little Darlin’” (which Williams also wrote). The Gladiolas’ version reached No. 11 on R&B Best-Sellers in Stores and No. 41 on the Billboard Top 100, a forerunner to the Hot 100. But as was common in that era, a cover version by a white group, The Diamonds, became the bigger hit. The Diamonds’ version logged eight weeks at No. 2 on Best Sellers in Stores and appeared in the 1973 film American Graffiti – a nostalgic film which was perfectly timed as the Watergate scandal broke wide open. American Graffiti received an Oscar nod for best picture and was inducted into the National Film Registry in 1995. The double-disk soundtrack album, a first-rate oldies collection, reached the top 10 on the Billboard 200 in February 1974.

“Stay” was memorably featured in two films – American Hot Wax, a 1978 film about legendary DJ Alan Freed, and the 1987 blockbuster Dirty Dancing, another nostalgic film that provided relief from the woes of that era, including Iran/Contra and AIDS. “Stay” was featured on the Dirty Dancing soundtrack, which topped the Billboard 200 for 18 non-consecutive weeks.

Many artists have recorded successful cover versions of “Stay.” In November 1963, the song was released by The Hollies, whose bright, effervescent version shifted the focus from doo-wop to rock’n’roll. Their version reached No. 8 on the Official UK Singles Chart, becoming their first of 18 top 10 hits in their home country.

Two cover versions have reached the top 20 on the Hot 100 – one by the 4 Seasons in April 1964 (with Frankie Valli taking on Gaston’s falsetto part) and another by Jackson Browne in August 1978 (with David Lindley handling the falsetto vocals). Browne cleverly recast the song from a romantic plea to a performer’s plea to the audience to let them play a little longer. Instead of saying Mommy and Daddy won’t mind, he argues that the promoter, union, and roadies won’t mind (again, not entirely convincingly!). Browne’s version directly followed his own song “The Load-Out” on his hit album Running on Empty.

There have been many other notable cover versions of the song. The Dave Clark Five recorded the song for their studio album Glad All Over, which reached No. 3 on the Billboard 200 in May 1964. Andrew Gold recorded a version of “Stay” for his 1976 album What’s Wrong with This Picture?, which also spawned his only top 10 hit on the Hot 100, “Lonely Boy.” Bruce Springsteen & The E Street Band teamed with Browne, Butler, and Tom Petty to record the song at the No Nukes concert at Madison Square Garden in September 1979.

Maurice Williams didn’t have enough hits to receive major honors. He’s not in the Songwriters Hall of Fame (despite writing two colossal hits). He and the Zodiacs haven’t even been nominated for the Rock and Roll Hall of Fame. But the placement of “Little Darlin’” and “Stay” in such iconic films as American Graffiti and Dirty Dancing helps ensure that those songs will live on forever.

And Williams’ place in the Hot 100 record books seems secure: Even with hit songs getting shorter and shorter in the TikTok era, no one has yet passed Williams for his 98 seconds of pop perfection.

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