The Rubies, "Sugar Cane" c/w "Is a Man Really Worth It," Enith International 720 (rel. 1/1963)
Every so often, a record turns up that is a complete unknown. No information or names of its performers; no evidence that it did anything but be released when new. Stock copies exist of this 1963 obscurity; thus, it must have done well around the metro Los Angeles area, where it was recorded.
There are many girl groups called The Rubies. This group sounds like a Black trio, and might be better-known singers in disguise. It's not The Blossoms; they were too busy in 1963 to take on a one-shot record with a small-time label. The local talent pool was immense, and they could just as well be unknowns in their lone attempt to grab that big brass ring of legend.
The songwriter and producer, Alonzo B. Willis, comes up with little more information. He penned many instrumental sides for surf guitar king Dick Dale and co-wrote "Puddin 'n' Tain," a minor hit for Black vocal group The Alley Cats, as produced by the notorious Phil Spector.
Enith International appears to have been his record label. Why Enith? Perhaps Willis figured the missing Z might intrigue people to buy his wares. Enith existed for over two dozen releases and sired two groups who went onto bigger things: clean-cut white rockers The Spats and Black soul vocalists Dan and The Clean-Cuts (their gimmick: they were all bald!) Willis' name as songwriter, arranger and producer are constant on the label.
Aside from a few singles that were picked up by bigger labels, Enith's roster are picture-not-available types, The Rubies included. Few left behind any evidence of their existence aside from their one or two obscure, unheard records. Same ol' sad story.
Aside from a few singles that were picked up by bigger labels, Enith's roster are picture-not-available types, The Rubies included. Few left behind any evidence of their existence aside from their one or two obscure, unheard records. Same ol' sad story.
These Rubies had a gutsy, earthy sound are were as good as, if not better than, many established girl groups. The lo-fi, soulful edge to these two sides is mighty appealing to these ears. "Sugar Cane" had hit potential; it's a fine li'l ear-worm, delivered with intensity by these women to a muddy-but-sprightly rhythm section. The pianist is having a ball here. I don't hear the usual suspects (i.e. 'The Wrecking Crew,' who dominate LA recordings of the era); it's always a pleasure to hear other musicians on California records of the 1960s. Hal Blaine is a great drummer, but he was formulaic; his duties demanded he phone in 70% of his performances, since he had no prep time or familiarity with the music brought into the studio.
The personnel of this record might be from LA's Black neighborhood Watts; it was a hotbed of musical talent and had a lively jazz scene.
The personnel of this record might be from LA's Black neighborhood Watts; it was a hotbed of musical talent and had a lively jazz scene.
"Is A Man Really Worth It" is a real surprise: a proto-feminist song, it seems, until it hits the chorus, which affirms that man are, indeed, worth being miserable over. Uh. Girls; there's a thing called self-respect, you might...whoa! Listen to that frenzied racket at record's end! Those roaring voices and...what was I talking about? Oh, yes. Self-esteem. No mansplaining here; just empathy. Please: take care of yourselves, dear Rubies. And thanks for an inspired performance!
And that's all we got. This should be a familiar outcome to longtime readers. Fade to black.
Tomorrow: another one-record wonder, the talented chirper-cleffer Zelma Cliff, with a pair of exceptional, thoughtful love songs. Her lone release, via a Battle Records single from 1963 (a very good year for one-shot 45s).
These Rubies to my ears are a slightly less sweet version of The Chiffons or the Shirelles. Too bad the girls voices weren't in front of the music and recorded less muddier. May be why the public didn't catch on to their sound?
ReplyDeleteFun tunes! ( Suzie likes the Sugar one lots ‘n’ lots.)
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