The Gems, "I Can't Help Myself" c/w "Can't You Take a Hint," Chess 1908 (rel. 9/1964)
Today we visit the always-rewarding world of Chicago soul. Our record du jour was a local hit when issued in 1964, but made no impact on the world at large. That qualified it for Northern Soul adoration; it became one of "those records" that its owners guarded. During plays at British clubs, false labels covered the real ones, so that competing DJs couldn't easily ferret out a copy from America.
This behavior seems childish, but it gave certain Northern Soul influencers an edge over their competition. There was no way to discover who sang on an unknown record in the 1970s unless one already knew the song or could recognize its performers. Some acute ears might have noticed the high voice of Minnie Ripperton, who was not the group's lead singer; that honor belonged to Theresa Washburn. Dorothy Hucklebee, Jessice Collins and Bertha Watts rounded out the group, which was sometimes a quartet, as this cute publicity picture suggests. (Minnie is second from the left.)
The Gems--one of many groups with that name--recorded several singles for Chess Records in Chicago, under a few names (The Girls Three and The Starlets) from 1963 to 1971. Before that, they made two singles as The Lovettes. Enough tracks for an album; it's possible there are unissued numbers in the Chess tape vaults (assuming they didn't perish in the Universal vault fire of June 2008. Countless masters of classic performers were destroyed in this nadir of corporate carelessness. If you're not aware of this catastrophe, here's the heart-breaking story: https://en.wikipedia.org/wiki/2008_Universal_Studios_fire
This behavior seems childish, but it gave certain Northern Soul influencers an edge over their competition. There was no way to discover who sang on an unknown record in the 1970s unless one already knew the song or could recognize its performers. Some acute ears might have noticed the high voice of Minnie Ripperton, who was not the group's lead singer; that honor belonged to Theresa Washburn. Dorothy Hucklebee, Jessice Collins and Bertha Watts rounded out the group, which was sometimes a quartet, as this cute publicity picture suggests. (Minnie is second from the left.)
The Gems--one of many groups with that name--recorded several singles for Chess Records in Chicago, under a few names (The Girls Three and The Starlets) from 1963 to 1971. Before that, they made two singles as The Lovettes. Enough tracks for an album; it's possible there are unissued numbers in the Chess tape vaults (assuming they didn't perish in the Universal vault fire of June 2008. Countless masters of classic performers were destroyed in this nadir of corporate carelessness. If you're not aware of this catastrophe, here's the heart-breaking story: https://en.wikipedia.org/wiki/2008_Universal_Studios_fire
In 1964, the influence of The Supremes was inescapable for Black female groups. It's thus more impressive that The Gems show no sign of that Detroit sound that would, by 1965, be immersed in mainstream American culture. The Black composers, arrangers and producers of Chicago cross-pollenated with Detroit's; some familiar names go back and forth in this period. The Chicago sound was its own deal: stately, dramatic, full of poise and a sincere expression of Black pride that envisioned a future where color, nationality and creed didn't count against a human being. Our country flounders in its own racism and nationalism; a small group of bigots control our government and promote its persecution of anyone who isn't a straight white male. (The worst of the lot is two generations away from his Russian/Belarus Jewish origins, and should thus have some empathy, but childhood traumas addled his psyche and his bitter face betrays his contempt for himself.)
Back to the fun. The Gems worked with arranger Riley Hampton, songwriters Billy 'Roquel' Davis and Raymond Miner, and other notable names of the Windy City scene. On today's single, an elegance and soulful style were summoned for two delectable tracks that ooze with appeal. In Beatle-mad 1964, such records were lost in the shuffle. The A-side was co-written by Davis and Leonard Caston. Both men were from Detroit and shuttled between cities during their musical career.
"I Can't Help Myself" became the Northern Soul movement's favored side. Its fade in has tense strings that suggest a train approaching a station. Theresa Washburn's soulful voice sings this haunting song of romantic devotion and a feverish obsession for man who has her deep in the spell of love. To a gospel-tinged melody that moves in exciting directions, Washburn summons a calm fury as she expresses this desire that compels her.
A rhythmic repetition of the song's title in harmony by the group achieves a hypnotic state, with the stately-yet-sinister strings, with a French horn in tow, keeping our emotions taut as a guitar string throughout. Riley Hampton's arrangement places the four voices of The Gems front-and-center and uses the strings to evoke a great performance from the group.
It's a psychodrama you can dance to, and it also features a superb percussionist. You might focus on his performance; he drives the tight movement of the song with skill and tasteful choices.
Chess advertised this single a few times in the pages of Cash Box and Billboard; neither magazine deigned to review it or otherwise promote it. It was thus fertile ground for the British admirers of American soul recordings that were orphaned by their owners.
Back to the fun. The Gems worked with arranger Riley Hampton, songwriters Billy 'Roquel' Davis and Raymond Miner, and other notable names of the Windy City scene. On today's single, an elegance and soulful style were summoned for two delectable tracks that ooze with appeal. In Beatle-mad 1964, such records were lost in the shuffle. The A-side was co-written by Davis and Leonard Caston. Both men were from Detroit and shuttled between cities during their musical career.
"I Can't Help Myself" became the Northern Soul movement's favored side. Its fade in has tense strings that suggest a train approaching a station. Theresa Washburn's soulful voice sings this haunting song of romantic devotion and a feverish obsession for man who has her deep in the spell of love. To a gospel-tinged melody that moves in exciting directions, Washburn summons a calm fury as she expresses this desire that compels her.
A rhythmic repetition of the song's title in harmony by the group achieves a hypnotic state, with the stately-yet-sinister strings, with a French horn in tow, keeping our emotions taut as a guitar string throughout. Riley Hampton's arrangement places the four voices of The Gems front-and-center and uses the strings to evoke a great performance from the group.
It's a psychodrama you can dance to, and it also features a superb percussionist. You might focus on his performance; he drives the tight movement of the song with skill and tasteful choices.
Chess advertised this single a few times in the pages of Cash Box and Billboard; neither magazine deigned to review it or otherwise promote it. It was thus fertile ground for the British admirers of American soul recordings that were orphaned by their owners.
"Can't You Take a Hint" was co-written by Raynard Miner, a blind pianist who discovered Minnie Ripperton and brought her to the Chicago soul community. His piano is heard on both sides, and it's his melody on this side; it's similar to other songs of his I know. Ripperton's voice is heard in a few sky-high exclamations behind Washburn's compelling lead. This is a more traditional girl-group song reminiscent of The Shirelles but with a harder-edged approach.
The A side proves tough competition, but this funkier B has its charms, and shows that Chicago soul could get down with needed.
Chess product of this period was issued on heavy vinyl singles, with their elegant black labels, and Motown-adjacent styrene with a graphically clever yellow and orange label, as seen here.
Though their styrene discs are no better than Motown's, that is one smart piece of graphic design, and is worth a moment's admiration.
A record collector friend was amazed when I pointed out that the two arrows form a large C. It's subtle, but once recognized, the effect is charming.
Here's "Can't You Take a Hint..."
https://www.dropbox.com/scl/fi/iffeozeimchybdz05xiw6/2137b.mp3?rlkey=kgznelo2acqj8xq519qiomi00&st=bi3yseyn&dl=0
The A side proves tough competition, but this funkier B has its charms, and shows that Chicago soul could get down with needed.
Though their styrene discs are no better than Motown's, that is one smart piece of graphic design, and is worth a moment's admiration.
A record collector friend was amazed when I pointed out that the two arrows form a large C. It's subtle, but once recognized, the effect is charming.
Here's "Can't You Take a Hint..."
https://www.dropbox.com/scl/fi/iffeozeimchybdz05xiw6/2137b.mp3?rlkey=kgznelo2acqj8xq519qiomi00&st=bi3yseyn&dl=0
The Gems are often heard as backup singers for other Chess artists, including Jackie Ross, Billy Stewart, Mitty Collier, et al. Minnie Ripperton would break out as a solo artist in the 1970s after some time with The Rotary Connection, a fusion group with Black and white singers who purveyed a mix of psychedelia, pop, soul, blues and Middle Eastern music, flavored with the full force of the Chicago Symphony Orchestra. Ms. Ripperton's career was cut short by late-stage breast cancer. Discovered in 1976, Minnie outlived her prognosis of six months by almost three years and remains a dear figure in 20th-century Black music.
Tomorrow: more of the early works of Joe South, with Georgia rocker Billy Land on a pair of late rockabilly sides released by Warner Brothers Records in 1960s. Get your week off to a boppin' start with Billy!
Tomorrow: more of the early works of Joe South, with Georgia rocker Billy Land on a pair of late rockabilly sides released by Warner Brothers Records in 1960s. Get your week off to a boppin' start with Billy!
Two great songs! Drummer on both was really tuned in to the beat and the strings on "I Can't Help Myself" are just the ticket to make this song 'sing'.
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