The Five Blobs

In the golden age of sci-fi and drive-in movies, few songs captured the strange charm of 1950s pop culture like “The Blob.” Released in 1958 as the theme for the cult classic horror film of the same name, the song became an unlikely Top 40 hit. Behind the recording was a group of anonymous studio musicians led by singer Bernie Knee (sometimes credited as Bernie Nee), performing under the name The Five Blobs.

Although their time in the spotlight was brief, The Five Blobs became a curious and memorable footnote in music history. The tune’s quirky vibe, catchy saxophone riff, and odd lyrics matched the tone of the film perfectly—and its creation involved major names like Burt Bacharach and Mack David.

The Five Blobs – Artist Profile
Origin	Los Angeles, California, USA
Years Active	1958–1959
Genres	Novelty, Rock and Roll, Instrumental Pop
Main Label	Columbia Records, later Joy Records
Known For	“The Blob” (1958 film theme song)
Lead Artist	Bernie Knee (or Nee)
Notable Writers	Burt Bacharach, Mack David
Associated Acts	Carole King, Frank Sinatra, Frank Yankovic
Legacy	One-hit wonder with cult status
Death of Bernie Knee	November 20, 1994 (aged 70)

Who Were The Five Blobs?

The Five Blobs were never a traditional band. Instead, they were a studio project assembled in 1958 by Columbia Records specifically to record the title theme for The Blob, a science fiction horror movie starring a young Steve McQueen. The project’s leader, Bernie Knee, was a session singer based in New York who had already worked with many established artists.

The record label credited the group as The Five Blobs—a name chosen to match the film’s monster theme. However, the identities of the actual musicians were kept quiet.

The Birth of “The Blob”

The track “The Blob” was written by Burt Bacharach, who was still early in his career, and Mack David, older brother of lyricist Hal David. The song served as a playful counterbalance to the movie’s horror concept, with lyrics that warned listeners: “Beware of the Blob! It creeps, and leaps, and glides and slides.”

Musically, it drew comparisons to The Champs’ “Tequila” with its danceable rhythm and instrumental breaks. The saxophone riff stood out as the defining sound of the track, giving it a surf-rock-meets-novelty-song flair.

Released in September 1958, the single became a surprise hit, peaking at #33 on the Billboard Hot 100. It also enjoyed strong regional airplay, especially in Los Angeles, where the film and soundtrack were promoted heavily.

Controversy and Fallout

While “The Blob” gained popularity, Bernie Knee became frustrated. He noticed that neither his name nor his vocal credit appeared on the film posters or the record sleeve. Feeling slighted, Knee launched a personal publicity campaign, distributing statements to media outlets that identified him as the voice behind the hit.

Columbia Records didn’t appreciate his initiative. In response, they fired him—despite the single’s success.

Knee quickly moved on to Joy Records, where he continued recording under the name The Five Blobs. However, the novelty had faded, and the group never returned to the charts.

More Singles, Less Success

In early 1959, Joy Records released two follow-up singles under The Five Blobs name:

• “From the Top of Your Guggle” backed with “Rockin’ Pow Wow”

• “Juliet” backed with “Young and Wild”

Though creatively titled, these songs failed to generate buzz. Radio stations largely ignored them, and sales were low. Without the backing of a major film, the novelty value disappeared.

International Releases and Cult Status

The Blob’s appeal wasn’t limited to the U.S. The single saw releases in Australia, the UK, and later reissues in the 1980s. Interestingly, the B-side, “Saturday Night in Tijuana” (sometimes misspelled as “Tiajuana”), also gained a small cult following. That track, an instrumental credited to Burt Bacharach, was a playful Latin-influenced jam that showcased his early versatility as a composer.

Bernie Knee’s Career After The Blobs

After The Five Blobs faded from the spotlight, Bernie Knee returned to what he knew best—session work. Over the years, he collaborated with major artists including Carole King and Frank Yankovic. His biggest commercial work came in 1980 when he contributed vocals to Frank Sinatra’s Trilogy album, a massive three-record project that included “Theme from New York, New York.”

Though rarely in the limelight, Knee’s voice appeared on dozens of commercial recordings and albums throughout the 1960s–1980s.

He passed away on November 20, 1994, in Fort Lauderdale, Florida, at the age of 70.

Selected Discography