The Sheppards, "Pretend You're Still Mine" c/w "Walkin'." OKeh 4-7173 (rel. 5/1963)
It's an extra Soulful Sunday--on Monday! We hear again from The Sheppards, Chicago-based vocal group who created some of the most pleasing harmonies of the 1960s r&b-into-soul period of American music. Their first record was issued only on 78; after a few years' hiatus they re-emerged in 1959 with a series of fine singles that included the utopian soul ballad "Island of Love," which the group recorded at least two times over the years. Despite the high quality of their work, The Sheppards couldn't get arrested; their music went unheard by most of the public, save devotees of the vocal group sound.
They were a group's group--respected, admired and influential to their peers, although that didn't sell records. We're fortunate that sympathetic labels continued to give them a shot. Their talent ought've translated into hits but that never happened.
Today we'll hear the group's lone effort for the Chicago branch of Columbia Records' OKeh imprint. With top-tier arrangers and producers at the helm, OKeh was era-defining as Black music transitioned, one single at a time, from the 1950s style to a new sound that embraced a looser, more impassioned approach--one that would lead to excess by decade's end but, for a time, achieved a perfect balance of raw and sweet.
With arranger Riley Hampton in their corner, the group delivered two solid performances on songs miles apart in style and emotion. Up first was a Nashville-penned ballad by Kent Westberry and William Aikins. "Pretend You're Still Mine" is a telephone drama, as an obsessed ex phones his one-time sweetheart and pours out his feelings in vain; he confesses the folly of his call but needs one last fix of connection before he cradles the phone and cries himself to sleep.
So: not a chipper scenario. It's delivered with a spare production that gives the group's fine voices room to paint a picture. The elegant, moody melody is a thing of beauty, and too good to be filed away and forgotten. In 1964, Nashville girl group The Zippers revived it on a Hickory Records single that suffered a similar fate. I upgraded a worn styrene copy with a clean vinyl promo 45 not long ago, and you can hear The Zippers' version in full hi-fi mono sound at the bottom of today's post.
They were a group's group--respected, admired and influential to their peers, although that didn't sell records. We're fortunate that sympathetic labels continued to give them a shot. Their talent ought've translated into hits but that never happened.
Today we'll hear the group's lone effort for the Chicago branch of Columbia Records' OKeh imprint. With top-tier arrangers and producers at the helm, OKeh was era-defining as Black music transitioned, one single at a time, from the 1950s style to a new sound that embraced a looser, more impassioned approach--one that would lead to excess by decade's end but, for a time, achieved a perfect balance of raw and sweet.
With arranger Riley Hampton in their corner, the group delivered two solid performances on songs miles apart in style and emotion. Up first was a Nashville-penned ballad by Kent Westberry and William Aikins. "Pretend You're Still Mine" is a telephone drama, as an obsessed ex phones his one-time sweetheart and pours out his feelings in vain; he confesses the folly of his call but needs one last fix of connection before he cradles the phone and cries himself to sleep.
So: not a chipper scenario. It's delivered with a spare production that gives the group's fine voices room to paint a picture. The elegant, moody melody is a thing of beauty, and too good to be filed away and forgotten. In 1964, Nashville girl group The Zippers revived it on a Hickory Records single that suffered a similar fate. I upgraded a worn styrene copy with a clean vinyl promo 45 not long ago, and you can hear The Zippers' version in full hi-fi mono sound at the bottom of today's post.
Cash Box pushed the giddy "Walkin'" as their pick to click. Neither side tickled the charts.
"Walkin'" has that "Twist and Shout" rhythm, with gutsy guitar and organ, a bubbling bass vocal line and the polar opposite of the 3AM sorrow heard on the A-side. In retrospect, this might have been a better one to put on the A-side. Though it's a silly song, its happy mood is winning, and in the wake of The Marcels' big hit "Blue Moon," this had pop appeal. "Pretend You're Still Mine" is the better song, but better songs don't always translate into radio hits.
And here is The Zippers' version of "Pretend You're Still Mine," as promised...
Tomorrow: Etta "Miss Peaches" James from her early career, with a boppin' twin-spin from Modern Records, 1956.
Nice! Dig them both but especially the first one. Has a bit of a "What Time Is It?" vibe. Strong vocals--the lead reminds me a bit of Dee Clark and Jackie Wilson but is stand alone great. So good! Love his accent sounding like "Pre-tind You're Steel Mahn." Excellent drumming and guitar fills on "Walkin'." Efficient and clean. Fun to hear track three...a classic girl group sound of the era. The Zippers--don't know about that choice for a name!
ReplyDeleteHi, Dean! Thank you for all your recent and insightful comments! I agree re your thoughts on the A and B sides.
DeleteThere are a few groups called The Zippers; yep, that's an iffy name. I think a popular idea was to have a Z name in order to stand out. There are more obscure Z groups than successful ones, so maybe that ploy didn't work. There's one vocal group called The Zebulons, which reveals a church background.
And thank you for all the enriching posts and music, Frank! "The Zebulons"...wow-- at least did get The Zombies from all the Z-groups!
ReplyDelete