Johnny And Jackey, "Someday We'll Be Together" c/w "Sho Don't Pay," Tri-Phi TP-1005 (rel. 11/1961)

We heard from Detroit duo Johnny Bristol and Jackie Beavers on May 15^th. At that time, today’s record was mentioned, but we’ve saved it for a special time—and that’s now!

In 1969, Diana Ross and The Supremes announced they were calling it a day. Ms. Ross would pursue a solo career. This coincided with The Beatles’ breakup in early 1970. For their final single as a group, The Supremes wanted a song with a special sense of longing, farewell and a shout-out to the bond felt between performers and their vast audience of fans. Little did most of those who bought, heard and savored the results knew the song was almost a decade old!

“Someday We’ll Be Together” was first recorded by today’s performers in 1961 for Harvey Fuqua’s Tri-Phi imprint. It didn’t get much attention when new, and co-composers Fuqua, Bristol and Beavers filed it away and went on with their careers.  Harvey Fuqua and Johnny Bristol became employees of Motown Records, after Fuqua ended his various labels. Berry Gordy bought the rights to all the Tri-Phi and Harvey Records tracks and re-copyrighted them as Jobete Music properties.

Cut to 1969. Bristol revived “Someday” as a possible track for Jr. Walker and His All-Stars. With Motown’s house band (nicknamed The Funk Brothers), Bristol worked up a basic backing track, but Walker delayed putting down his performance. Berry Gordy liked to nose through current works-in-progress, and one listen to the tracks convinced him the song would be an ideal one for Ms. Ross’ rebrand as a solo artist.

Gordy bade Bristol bring Ross into the studio to learn the song. She did, but had problems finding her way into it. Bristol suggested he sing alongside her, since he had co-written the piece and might impart some of his vision onto her performance. He made various ad-libbed asides to encourage Diana into feeling the song.

The recording engineer captured both their voices, and when it was played back for Gordy, he liked the positive vibe of Bristol’s comments. Thus, his voice is part of the released version of the song. No other Supremes performed on this side, but were present for its flip, “He’s My Sunny Boy.”

Millions have heard the Ross version. Here’s the original by Johnny and Jackey. It is, to these ears, the superior version. With a beat than anticipates reggae rhythms yet to come, a gentle, pensive vocal duet by Bristol and Beavers and a stark, atmospheric backing, it’s a perfect performance and arrangement of an epic song that is a high spot in the careers of all three composers. It’s impossible to hear this without feeling a powerful tug on the old heart strings. How could a performance, song and recording of such excellence get so lost in the shuffle? The single did well in and around the Detroit area but fizzled out on its path towards the mainstream.

It must have been satisfying for the three writers to see their song at last find a global audience. Here’s the first rendition in all its glory.

Did develop into something.

“Sho Don’t Play” was a collaboration by Berry Gordy, Jesse Belvin and Harvey Fuqua. It's a bluesy, loose rocker with wild lyrics and an appealing performance by Johnny and Jackey. They come across like a prehistoric Sam and Dave on this funky mover that defines the eccentric-yet-pleasing B-side. I love the blend of the guys’ voices on this little corker.

“Sho Don’t Play” was a collaboration by Berry Gordy, Jesse Belvin and Harvey Fuqua. It's a bluesy, loose rocker with wild lyrics and an appealing performance by Johnny and Jackey. They come across like a prehistoric Sam and Dave on this funky mover that defines the eccentric-yet-pleasing B-side. I love the blend of the guys’ voices on this little corker.

Perhaps at today’s Olympia, WA Record Fair, I’ll find another of Johnny and Jackey’s records. The new finds are piled high ‘round here and will continue to build up. Help!

Tomorrow: the classic country sounds of The Louvin Brothers, with the song that served as my introduction to their music. A Capitol Records gem from 1955!