The Dynettes, "New Guy" c/w "Witness to a Heartbreak," Constellation C-150 (rel. 3/1965)

 

Another Soulful Sunday; another one-record group with next-to-nothing known about them. They are The Dynettes, and their lone record, released on Chicago imprint Constellation Records, is a gritty goodie that resists the omnipresent influence of The Supremes, whose Motown singles dominated the 1965 pop charts.

No photos exist of the group; there was little point unless or until the performers showed signs of chart success or public appeal. Record companies had been burned a thousand times over on putting much stock in unknown talent. The publicity build-up seldom succeeded, and it was best to dump the record on the market, let it sink or swim and wash their hands of the new talent ASAP.

Owned by gambling addict/serial swindler Ewart Abner, Constellation rose from the smoldering ruins of Vee-Jay, the first Black-owned label to succeed in the cutthroat music biz. Abner’s sleazy ways gutted that company; since bad guys always seem to win, he recruited many of Vee-Jay’s former stars for his new imprint. Constellation lasted for three years and 67 releases, by which time Abner had again shipwrecked the imprint. The guy evaded consequences and was rewarded for his chicanery: he became an executive for Motown Records in 1967. I wonder if he had little hands…

Back to the rekkid. Written and arranged by Maurice Williams, who’s seen in today’s marquee, and produced by Bill “Bunky” Sheppard, it’s a welcome blast of sassy and earthy sound at a moment when girl groups took to the cotton-candy affect of The Supremes, often with depressing results. “New Guy” gets a powerful sound, with semi-truck horn blasts, an insistent bass line and a wailing lead vocal by Dynette #1. Harmonic support by other Dynettes is outstanding, and their unison singing less so. Those bursts of “new guyyyyyyyyyyyyy” late in the track are far off-pitch and cringe-inducing if you have the dubious gift of a good ear for music. Hoo. Otherwise, this is a fab, chonky wall of sound. Two years earlier, it might have charted. In 1965, it was an anomaly and went nowhere. I’m glad it exists: it shows that Black female groups still held their own ground, despite the domination of Ms. Ross & Co.

Only C-lister Record World took the bait; their reviews are pretty generic.

“Witness to a Heartbreak” is a lusty blues waltz that features prominent percussion and brings drama to the table. I love songs that use legal jargon, and this item doesn’t disappoint. Our lead Dynette remains in fine form as she pleads her case to the court of love (L-U-V).

Maurice Williams’ arrangement couldn’t be busier and teeters on the brink of failure. It all hangs together long enough to meet the fade-out and its overall sound is intriguing. It’s hard to judge a performer or group on two short songs, but there was potential in these Dynettes that might’ve turned into a hit somewhere down the road.

And that’s all we have for ya today. Some records are like that.

Tomorrow: two fine country boppers from Lee Emerson, via a 1957 Columbia 45. One side’s a train song; the other’s 95% rockabilly.