The "5" Royales, "What's In The Heart" c/w "I Want It Like That," ABC-Paramount 45-10368 (rel. 11/1962)

My first find on that Labor Day dig was a superb single by The “5” Royales, who remain my favorite rhythm and blues vocal group and who are, in that field, the music’s Beatles: performers and songwriters who synthesized all that had come before and added new and revolutionary touches while steadfast to their music’s traditions and forms.

Lowman Pauling, the group’s lead songwriter and guitarist, and lead vocalist Eugene Tanner were still in their prime in 1962. They’d split from King Records, their home from 1954 to ’60, and found a less successful but more creatively rewarding berth at Memphis’ Home of the Blues label. Willie Mitchell produced their sides and the group’s vocal and guitar approach was augmented by his house band. The Royales made some of their best sides for HotB, including the insanely sought-after “Catch That Teardrop,” which fetches four figures in top condition.

This single, like “Catch,” was leased to ABC-Paramount, whose affection for regional records of promise made it possible for many superb singles to reach a wider audience. While today’s 45 goes for 1/900^th of its predecessor, it’s a more typical example of the Royales’ sound and includes one of their greatest ballads. We’ll save “What’s in the Heart” for last today, since it’s a hard act to follow.

Pauling enjoyed simple, conversational song titles, and “I Want It Like That” harks back to the group’s first secular sides for Apollo Records a decade earlier. A gospel-flavored melody, call and response vocals and simple, declaratory phrases with artful pauses—this fills the bill for any of the group’s early releases.

Add early ‘60s soulful horn stabs with a touch of James Brown influence for flavor*, but nothing about the song suggests things to come in Black music. And that’s fine: no one did this type of song better than the Royales. Tanner’s rough-hewn, expressive vocal over a simple, tight arrangement is heaven to these ears, and the song, credited to Royales Otto Jeffries and Lowman Pauling, is a rowdy up-tempo side that does what it does quite well.

Cash Box shows respect for this greatest of r&b vocal groups.

On the flip, “What’s in the Heart” is credited to Pauling’s wife Ellise, but it shows its creator’s hand through and through. It’s a philosophical ballad about a troubled relationship. The narrator feels taken for granted by a woman who assumes he’s hooked by her beauty. Good looks and wealth are fine and dandy, but what’s in a person’s heart is most important.

Pauling’s mastery of gospel melodies and chord progressions is at its best here. The melody bobs and weaves around the typical early soul sound, and all its choices build to create an emotional experience deeper and richer than any other vocal group’s abilities. Pauling gets down to the heavy stuff about life, relationships and the world, and has the admirable ability to get it in just the right words. His lyrics make sense the first time they’re heard and grow in effect through familiarity. “What’s in the Heart” is a splendid example of Pauling’s skill as a composer and wordsmith. Eugene Tanner’s heart-on-cuff performance fortifies the song; all else is just window dressing. The cold stop is a surprise but is effective with its “end of sermon” closure.

This single wasn’t a chart hit but I’m sure it got jukebox and radio plays in the chitlin circuit and in the Deep South.

* This is an irony, since James Brown was an admirer of the “5” Royales and had hits with his versions of some of their songs. Their approach was a profound influence on Brown’s sound and style. Brown produced two of the group’s last singles for Smash Records during his time with that label.

Tomorrow: The Youngsters make with youthful rock ‘n’ roll on a pair of charming songs from 1956 outta El Lay.