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The Jelly Beans scored a massive hit (US Top 10) with their debut release ('I Wanna Love Him So Bad'), but it proved to be their only successful release in a scant three single discography. This (final) release from the group found them exploring more depth to their sound with a harder soul edge; one side being an uptempo stomper, and the flip being a brilliant soul ballad. Sadly, this single failed completely and is very, very scarce. While the northern soul favored 'You Don't Mean No Good' was the side that initially drew me to seek out this record (dig those infectious handclaps and the attitude laden backing vocals!), 'I'm Hip To You' was a very pleasant surprise to me on first listen, and I would rate it as perhaps the greatest thing the group ever cut. The mood, arrangement, vocals, and the song itself are top notch; it has the type of dreamy qualities that are favored by the Lowrider/ underground oldies crowd as well.
The story of the Jelly Beans is a familiar one in the annals of girl group lore; high school friends (in this case 4 young ladies and one young man) formed a group which was 'discovered' and signed by legendary songwriters Leiber-Stoller to their newly formed Red Bird label.
The combination of New York producer (and Sue Records label owner) Juggy Murray and vocalist Justine 'Baby' Washington was one of pure musical chemistry; Juggy placed Baby's husky, intense vocals inside productions that showcased the strength of her voice in the perfect setting.
'Doodlin' is a track that was written by the great jazz pianist Horace Silver, and while the original recording from 1954 (Horace Silver and The Jazz Messengers) is a relatively straight (but swingin') hard bop performance, this reworking takes on the Latin style rhythms that Horace Silver was also exploring in his music during the 1960's to brilliant effect. While the original is an instrumental, lyrics are added here; strangely, though, the lyricist isn't credited (it may very well have been Baby herself). The end result is a unique vocal melody with jazzy phrasing and a phenomenal performance from everyone on the track.
Possessing an incredible, earth voice, Justine's "Baby" Washington's professional music
career began in 1956 when she was all of 16 years old as a member of New
York City group The Hearts. By 1959, she was recording as a solo
artist.
Justine continues to sing to this day, performing
occasionally on the east coast. Sadly, she was working on tracks with
producer Juggy Murray (of Sue Records fame) who was quoted as saying he
would "rather record Baby Washington than eat" when Juggy died in 2005.
from 1963...
'Lonely Heart In The City' is one of those records that commands attention from the very first revolution per minute- the band lays down a swirling intro, a killer guitar hook sets the mood, and a simple but incredibly effective female vocalist duo sings the title in a way that shows that this record means business. Johnny Moore delivers the vocal with pure soul, and just when it seems that this record is a relatively straight (but deeply grooving) soul-blues, the bridge comes in, shifts the mood, and propels the song upward in a bit of masterful song craft.
Chicago based producer/ songwriter Jack Daniels was involved in several cool records, but the majority of them seem a bit half baked and not up to their full potential. However, this one is fully realized and one of THE great Chicago soul tracks of the late '60's.
Chicago vocalist Johnny Moore had a powerful, appealing voice and
released several great records. For whatever reason, his records charted
locally in Chi-town but never made a mark in any other markets. No surprise that when several of his sides were compiled onto CD that the title of this record was used as the name of the compilation.
Mike Terry, the producer and arranger of this record, is one of the lesser known names of Detroit soul, but his work is strongly revered by soul aficionados and his baritone sax work at Motown Records proper is one of the key ingredients to the Motown Sound.
Mike produced, arranged, and wrote dozens of excellent records after he went on his own in the mid 60's, and this lovely side is essentially a one off from this group (the record was released with another flip side but the same catalog number as well). It's one of those records whose greatness is subtle; on the surface it's a simple song and production that isn't really laden with hooks, but it has a very special charm and the message rings through beautifully.
What a GLORIOUS one off we have here!!! Girl group perfection of the highest order.
Producer (and co-writer) Lennie LaCour moved from his Louisiana home to Chicago as a young man in the early 1950's, and established himself as one of the earliest progenitors of rock n roll music as a singer and songwriter. Throughout the 50's, Lennie was a renaissance man of sorts who was involved in publishing and producing vocal groups in Chicago.
Around 1964, Lennie moved to Milwaukee, WI and put his focus to the musicians and songwriters in that city, and it was there that today's record was cut and released on Lennie's Magic Touch label. Dig the adorably cute rabbit with magic wand on the label!
This seems to be the only Mar-J's release, and it's fabulous- with a big and brassy arrangement, the records swings like crazy and the vocals are enthusiastic, charming, powerful and sincere.
This is the type of record that, had it seen better promotion and distribution, easily could have been a massive hit.
This record plain and simply has a VIBE. 'Mogambo' has a vaguely Latin feel, and although it is a simple blues song, the arrangement (heavy on the keys and percussion) just GROOVES. The flip side, 'Mama Please' has a great feel as well- almost veering into country fried soul. Great stuff, and an obscure private press from who-knows-where.
New York based producer Richard Tee cranked out a near-perfect replica of the late 60's/ early 70's Chicago soul sound here, right down to the bubbling bass lines ala Bernard Reed (the amazing bassist heard on records from The Chi-Lites, Barbara Acklin, Syl Johnson and so many others). For all I know, it may BE Bernard on the track, it sounds so close to his style. The lyric, track and vocal style is straight out of the Lovelites school as well.
A total mystery! This group appears to have released this one record only, and what a lovely one shot it is.
Thanks to the Norman Keith (aka Tommy Keith) credit (himself a very prolific songwriter and performing artist), it's safe to assume that the group was probably out of Philadelphia or New York City.
Whatever the story, it's a gorgeous group harmony record.
Phew...James Brown's production work from the late '60's early '70's hits HARD, and captured music in such a raw, spontaneous state that it downright hurts!
Here, fireball vocalist Marva Whitney sounds as though she's a part of the horn section, and lays down a chant so deep that it easily crosses into the intensity of the Godfather's own recordings of the era.
from 1969...
MARVA WHITNEY - I MADE A MISTAKE BECAUSE IT'S ONLY YOU
Vivian Copeland released a few singles, but this single (which was a minor hit in some regions) is the only one that this writer has heard. She didn't have the strongest voice (even though her performance here is very charming), but the material and production here is top notch, thanks to New York based producer George Kerr.
from 1969...
VIVIAN COPELAND - HE KNOWS MY KEY (IS ALWAYS IN THE MAILBOX)
This is one of those tracks that, plain and simply, just feels GOOD. A positive message, a fantastic groove, excellent vocals, and musicianship? Pure soul, baby.
Moses Dillard, a very talented man who formed a touring r&b revue
called The Dynamic Showmen in South Carolina while he was still a
teenager c1963, had a long career as both vocalist and hot shot
session guitarist in Muscle Shoals.
from 1971...
MOSES DILLARD AND TEX-TOWN DISPLAY - THANK GOD FOR THIS THING CALLED LOVE
