Judy Thomas, "Let's End It Before It Begins" c/w "Tall Dark Handsome Stranger," Reprise R 20-229 (rel. 10/1963)
This country-pop obscurity was one of many dollar discs (or less) that I picked up at this year's Tacoma Record Meet. While it's not an earth-shaker, it is a good pair of songs from a performer I didn't know existed before this styrene platter got into my pile.
When I saw the songwriting credit Rainwater-Isle-Walker, I was intrigued. The Rainwater isn't Marvin, the Native American country-rockabilly legend who made many fine M-G-M singles; it's Jay Rainwater, record-store owner and songwriter who married Brenda Lee's mom and gained entree to Nashville's inner circle. The other two songwriters are Jimmy Isle, Nashville pop-rock performer who had three singles on Sun Records in 1958 and '59 and Wayne Walker, one of Music City's most distinctive cleffers in the 1950s and '60s. Walker's name was attached to the song after its first outing, as a 1961 country hit for Claude Gray.
How or why Walker's name got added is anyone's guess. A favor owed, perhaps. This single is an obvious Los Angeles production. The unmistakable sound of Gold Star Studios, the long-gone facility with a world-famous ambience. It was where Phil Spector and Brian Wilson preferred to record in their respective heydays. I wager members of The Wrecking Crew play the hard-hitting backup. That said, the very in-your-face drummer doesn't sound like Hal Blaine to these ears. I could be wrong.
When I saw the songwriting credit Rainwater-Isle-Walker, I was intrigued. The Rainwater isn't Marvin, the Native American country-rockabilly legend who made many fine M-G-M singles; it's Jay Rainwater, record-store owner and songwriter who married Brenda Lee's mom and gained entree to Nashville's inner circle. The other two songwriters are Jimmy Isle, Nashville pop-rock performer who had three singles on Sun Records in 1958 and '59 and Wayne Walker, one of Music City's most distinctive cleffers in the 1950s and '60s. Walker's name was attached to the song after its first outing, as a 1961 country hit for Claude Gray.
How or why Walker's name got added is anyone's guess. A favor owed, perhaps. This single is an obvious Los Angeles production. The unmistakable sound of Gold Star Studios, the long-gone facility with a world-famous ambience. It was where Phil Spector and Brian Wilson preferred to record in their respective heydays. I wager members of The Wrecking Crew play the hard-hitting backup. That said, the very in-your-face drummer doesn't sound like Hal Blaine to these ears. I could be wrong.
Judy Thomas is a cipher. She made 10 singles for seven labels from 1962 to 1970. Zero biographical data on her. She is the median female pop-country vocalist of her day. Nothing outstanding about her performances; they're competent and delivered with good intonation and technique. You won't exclaim "WOW!" while you hear this single.
"Let's End it Before it Begins" is a solid, moody country-pop item. Thunderous drum fills are the song's hook, and this arrangement makes a decent song into a memorable record. Judy self-harmonizes here and there and lets the massive reverb of Gold Star do its thing. It's a bit haunting; Thomas relates the emotional bluntness well and the results are solid. Nothing I'd ever call a classic, but...well, have a listen
"Let's End it Before it Begins" is a solid, moody country-pop item. Thunderous drum fills are the song's hook, and this arrangement makes a decent song into a memorable record. Judy self-harmonizes here and there and lets the massive reverb of Gold Star do its thing. It's a bit haunting; Thomas relates the emotional bluntness well and the results are solid. Nothing I'd ever call a classic, but...well, have a listen
Frank Sinatra co-owned Reprise Records, and Cash Box never failed to review their singles. Perhaps they had some kind of "understanding."
Martha Sharp wrote "Tall, Dark Handsome Stranger." She's best known for two hit songs she penned for Sandy Posey, "Born a Woman" and "Single Girl." A moody minor-key melody receives a stark, folky arrangement with no drums. Perhaps the producer had used up their percussion budget on the A-side.
This softer, eerie approach works fine for a mournful-sounding song with a bummer ending. Thomas' less emotional voice works well in the narrator's role; she sounds like someone whose feelings have been blunted by life's hard turns.
Cash Box tagged this as the side to watch. It's a tough choice but they might be right.
This softer, eerie approach works fine for a mournful-sounding song with a bummer ending. Thomas' less emotional voice works well in the narrator's role; she sounds like someone whose feelings have been blunted by life's hard turns.
Cash Box tagged this as the side to watch. It's a tough choice but they might be right.
A curious thing, this one. I hope you enjoyed this mega-obscurity.
Tomorrow: Emmit Rhodes with his best-known band The Merry Go Round on a scarce, withdrawn 1967 single with two McCartney-esque melodic winners.
What a fulsome voice Thomas had. Just as good as Tammy Wynette. I waited for a possible drum solo on "Let's End It..."—the drummer seemed to want to break free but never did. The guitar sound of the 'folk-flavored' lament of "Tall, Dark..." reminded me of Bobby Lind's 1965 hit "Elusive Butterfly" and also some early Simon and Garfunkel tunes. A great find for a buck or less!
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