Vibrations, "Lonesome Little Lonely Girl" c/w "Between Hello And Goodbye," Atlantic 45-2204 (rel. 9/1963)

The Vibrations kept busy—besides their own records, they moonlighted as another group. Two, if you include The Jayhawks, which was the starting point for these LA-based vocalists.

They did the original version of “Stranded in the Jungle,” which got them into the pop Top 20 in early 1956. The record was assaulted with several cover versions including a good one by The Cadets on Modern Records. They recorded under this name for a few years with no further success. After toying with The Vibes for two records, they settled on their final name and recorded for Chess records’ Checker imprint. They weren’t through with name changes yet!

In 1961, the group recorded a demo of a song called “Peanut Butter” for producer H. B. Barnum. He intended to pitch the demo to The Olympics but decided to put the demo out as The Marathons. It went Top 20 and Chess Records wasn’t happy. Though The Vibrations weren’t responsible for the record, Chess leased the single just so they could issue it with this snippy credit: “Vibrations, Named By Others As The Marathons.” They issued the single on Chess and Argo simultaneously, in yet another confusing mess committed by the record industry.

Chess kept the group on their roster and had them re-record “Stranded in the Jungle” while pursuing dance-craze songs after their single “The Watusi” got into the Top 30. The group wasn’t happy with this type-casting but bore with it and waited for something better to happen. A move to Atlantic Records—home of The Drifters and other seminal r&b acts—bode well for them in 1963.

For their debut on this top label they attempted a Drifters-style Latin mover on one side and a moody, out-of-nowhere ballad for the B. This single went nowhere, but their next Atlantic release kick-started their rambling career.

“Little Lonesome Lonely Girl” is an awkward phrase, but Vibration Carl Fisher’s song delivers the gritty goods. This Latin-flavored item comes on with the force of a Solomon Burke (who had the previous release in Atlantic’s catalog) and works up quite the sweat on an item that, in other hands, might have been a fluffy trifle.

Fisher sings the lead on this powerful mid-tempo mover, with an arrangement by the great Teacho Wiltshire, whose name on a record is usually enough to sway me. You’ll see a photo of him at left; for all the times I’ve invoked his name, I’ve not thought to put a face to it. Wiltshire’s influence on the sound of rhythm and blues and early soul is major, and his list of excellent records is a mile long.

Despite its obvious quality, this single was lost in the sauce during a hectic year for Atlantic Records. It didn’t chart, but that situation would soon be rectified.

Hello, Cash Box. Nice to hear from you.

 

“Between Hello and Goodbye,” penned by Aaron Schroeder, Jason Darrow and John Gluck, is an ahead-of-its-time mood piece, sung with elegant harmony by The Vibrations; Richard Owens take the lead on this contemplative beauty that paints some vivid images in its course. The group’s powerful vocal mix is showcased here, and could these guys sing! While they made their name with more up-tempo material, their grasp of balladry was masterful.

This record could have been released two or three years later and it would have still sounded au courant. It’s one of the neglected gems in this group’s large catalog.

Their next release, “My Girl Sloopy,” restored them to the pop and r&b Top 30 in early 1964. This dynamic affair, produced by Bert Berns, was their last outing on Atlantic. The group never signed a contract with the label; the four recordings they made were independently produced and leased to the label. When Okeh Records’ Chicago offices came calling, the group shook their hand and a series of Northern Soul-friendly singles followed, alongside the hits “Misty” and “And I Love Her.” Neither are great releases, and Okeh had the group record a lot of pop standards in a smooth style. Nonetheless, there are some real bangers in the Okeh singles from 1964-68, when they parted ways with the Windy City. 

Tomorrow: Lulu is back with a moody 1965 UK Decca single. She's in a swingin' London style on a pair of stylish pop ballads.