LP JACKS - Jumpin' With on Crown 5021 Mint-

$

132

GORGEOUS GLOSSY COVER TOO, ONE OF THE NICEST COPIES OF THIS ALBUM I'VE EVER SEEN

About the Artist: AMG REVIEW: These jumping Jacks were also those rockin' and reelin' Cadets, and vice versa: a comparison of the cover of this to the cover of Those Rockin' and Reelin' Cadets proves that, change of matching suits aside, it's obviously the same group. Whether the Jacks covering the Feathers' "Why Don't You Write Me" came before they were split into the Cadets to cover the Jayhawks' "Stranded in the Jungle" is somewhat lost to history; they did become both groups before they ever had a chance to record under their real name, however. Once success came with both records, however, the general pattern was that all the smooth ballad material would be issued as the Jacks, with all the uptempo sides issued under the Cadets banner. This was the game plan followed on the Jacks' singles, but their lone album for Crown is liberally peppered with uptempo jump material ("Oo Wee Baby," "Let's Make Up," the wild "Do You Wanna Rock") far better suited to, well, a group like the Cadets. But the ballads are nonetheless just as fine, with "You Belong to Me" and "Dream a Little Longer" being particular highlights. They may have led a somewhat Jekyll-and-Hyde existence on record, but they sure could sing, whoever they were marketed as. — Cub Koda

Record Grade: Mint- full gloss, a few light needle marks and a few scuffs that should not materially effect play; an 8 on a 1-10 scale

Cover Grade: VG++, high gloss cover is the nicest I've come across for this album. Both seams and the spine are intact and the lettering on the spine is just about perfect. Great group photo has sharp, vibrant colors, very minor wear. Very small quarter inch tear is barely noticeable as it's on the light curtain area; name and address stamp on back cover

Label: Original black and silver deep groove labels are in excellent condition

Song Titles:

• Why Don't You Write Me
• Oo Wee Baby
• Let's Make Up
• Dream a Little a Longer
• This Empty Heart
• So Wrong
• Wibbie Waggie Woo
• You Belong to Me
• Sugar Baby
• Why Did I Fall in Love
• Do You Wanna Rock
• My Clumsy Heart

  About the Artist: by Bryan Thomas

  The Los Angeles-based Jacks were so good at covering popular hits of the day that their versions were often equal to (if not better than) the original versions. They were versatile in R&B, jump tunes, ballads, calypso songs, and recorded some of the greatest early rock & roll songs ever, including "Stranded in the Jungle" (released in June of 1956, and charting at number four R&B/number 15 pop). Mostly, though, the Jacks are remembered for recording under two names simultaneously: as the Jacks (for Modern) and the Cadets (for RPM). Each group had its own hits and each with a slightly different sound and musical direction. The Jacks/Cadets began as a gospel group during the late '40s in Los Angeles, under the guidance of former Dixie Hummingbirds' baritone Lloyd McGraw. In 1954, McGraw joined up with first tenor Austin "Ted" Taylor, lead and second tenor Aaron Collins (brother of Betty and Rosie Collins, who recorded as the Teen Queens), tenor Willie Davis, and Will "Dub" Jones (lead and bass), who possessed a stratospheric falsetto. The band on most of the group's sessions was lead by tenor saxophonist Maxwell Davis. It was Modern's Joe Bihari who came up with the idea of having one group with a split personality, envisioning the Jacks as a ballad harmony group utilizing the writing talents of Aaron Collins and the Cadets as an up-tempo and novelty song quintet who mostly covered other acts' material. As a rule, either Dub Jones or Aaron Collins sang lead on the Cadets recordings, while tenor Willie Davis fronted the Jacks. In late 1954, the quintet — as the Cadets — recorded a version of Nappy Brown's "Don't Be Angry" and a calypso-flavored cover of "Rolling Stone," which outsold the original by Excello's Marigolds. Later, the Cadets issued their third single, "I Cried," backed up singer Dolly Cooper on "My Man," Young Jessie on "Mary Lou," and Richard Berry on "Jelly Roll" and "God Gave Me You." By the summer of 1955, the Cadets had released "Annie Met Henry," a single that fell in line with the whole "Annie" craze created in the aftermath of Hank Ballard & the Midnighters' big hit "Work With Me Annie," which had been released some 16 months earlier and was still going strong. The public was quickly tiring of the whole "Annie" phenom, however, so DJs flipped over the 45 and gave the B-side, "So Will I," the push instead. The Cadets' next Modern release was "Do You Wanna Rock," an exciting up-tempo revision of the Drifters' big R&B hit (number two) "Whatcha Gonna Do." The song also had a big impact on Hank Ballard and provided the format for Chubby Checker's "The Twist." It was the Cadets' next single, the buoyant "How Soon," that scored the regional airplay and sales. In early 1956, Prentice Moreland replaced Ted Taylor (although he only recorded with the group on three early songs, he didn't usually perform with them), who had left the group for a solo career as a solo blues vocalist. By February, the Cadets had moved on to new cover material, including Elvis Presley's "Heartbreak Hotel" and the Willows' "Church Bells May Ring." Around this time, Aaron Collins brought his two little sisters, Rosie and Betty, to Joe Bihari with an original song called "Eddie My Love." By the spring, the Teen Queens had the number two R&B record in America with "Eddie," which also charted number 14 on the pop chart. One day, Bihari and arranger Maxwell Davis handed the group a beautiful ballad titled "Why Don't You Write Me?," the original of which — by the Feathers — was soon to be issued on the Showtime label. They quickly did a cover; the Feathers' original came out in the fourth week of April 1955 and the Jacks' copy came out one week later (on the Modern affiliate RPM). The flipside, Charlie Calhoun's "Smack Dab in the Middle," was actually cut as being by the Cadets and wound up on their first LP. Even though it was recorded by the same group, it was listed as being by the Cadets in keeping with the "two groups in one" philosophy. The Jacks' "Why Don't You Write Me?" hit the R&B charts on August 6th, and jumped up to number three R&B by September; it even managed to cross over to the pop charts to reach number 82, charting before the Cadets charted with their outlandish cover of "Stranded in the Jungle." When the ballad side began to break big in the pop field, Bihari immediately bumped the B-side and a second pressing was hastily issued with a ballad on the flipside, "My Darling." The instant that Bihari heard the Jay Hawks' "Stranded in the Jungle," a rough and ragged original that had been waxed first, then heard the version done by his own act, the Cadets, while in the studio, he knew that his group's was far superior. He quickly pressed up copies and got them to radio stations in strong regional markets across the country and into stores in those areas, before the Jay Hawks' even had a chance to make a move themselves. Released in June of 1956, the song shot up the charts, to number four R&B/number 15 pop. What would prove to be Prentice Moreland's only Cadets/Jacks recording session provided the group with a catch phrase of their own; he delivered the line "Great googly-moogly, let me outta here," on "Stranded in the Jungle." It was a line he had picked up from a Cincinnati DJ. Modern tried to forced Moreland to remain with the group instead of leaving for his own solo career, but Moreland quit anyway and was replaced by former Flairs baritone Thomas "Pete" Fox. Moreland later sang with the Colts and went on to become a single artist for various labels, recording for Edsel in 1959, Del-Fi Records' subsidiary Donna in 1960, and Challenge in 1962. Lloyd McCraw also left the group around this time. Subsequent Jacks/Cadets sides from 1956 failed to generate interest or sales for Modern, however. The Jacks tried again with a few original ballads and eventually hit with "Love Bandit," their last record of 1956, which was cut from the same cloth as "Stranded in the Jungle" and name-checked many of the outlaws and sheriffs of the Old West ("Frank James, Jesse James, and Billy the Kid...."). The Jacks never again achieved the measure of success that "Stranded" had achieved. In September of 1956, they tried again as the Cadets for "Dancin' Dan," a slightly altered version of the Dominoes big hit "Sixty-Minute Man," which featured "Dub" Jones on lead vocals. After that, they covered "Johnnie" (Johnnie Louise Richardson, later a member of the Jaynettes, of "Sally Go Round the Roses" fame) and "Joe"'s (Joe Rivers) "I'll Be Spinning," a number ten hit on the East Coast (number one in NY), distributed by Chess Records. The Cadets' quickly recorded cover version of "I'll Be Spinning" outsold the original, however, on the West Coast.. In February 1957, Modern issued Rockin' and Reelin', the Cadets' first LP, one of the very first R&B group LPs, which collected most of their previously released A and B-sides. In March, eight months after their last release and 22 months after the release of their only hit, RPM put out the Jacks' Jumpin' With the Jacks LP, which contained ten sides of which three ("You Belong To Me," "Do You Wanna Rock," and "Wiggie Waggie Woo") were released on singles by the Cadets. Another single called "Pretty Evey" was thought to be a Cadets release, and even listed incorrectly as such when it was issued in May 1957, but was actually Aaron singing lead with another obscure house group. By this time, Bihari and Modern had given up on the Jacks part of the equation and from that point on, the group was exclusively known as the Cadets. Their last RPM single was "Ring Chimes," issued in December 1957. By the turn of the new decade, the Cadets had been ready to call it a career. Will "Dub" Jones later became the main bass man for the mega-popular group the Coasters. Davis and Collins soon re-formed the Cadets, this time adding Thomas Miller (baritone) and George Hollis (bass), both previously of the Flares. The new Cadets signed with the Felsted label, a New York-based label headed by Walt McGuire. After two singles in 1960, they were ready to call it a career, but in name only; Randolph Jones later joined the group, substituting for Hollis on bass, and the quartet became the Peppers. They released one single, "One More Chance," on Ensign in 1961. That year, with Hollis back on bass, the group became the Flares (different spelling this time) on Felsted. Their third single for the label, the energetic dance record "Foot Stomping, Pt. 1," went to number 25 on the pop Charts (number 20 R&B). The group then signed to Press Records for seven more singles, all of which went nowhere. A year later (in 1962), Davis and ex-Cadet McCraw teamed to form the Thorables (Titanic Records); in total, there were six more recordings by the Flares and none went anywhere. 1964 and the British Invasion pretty much brought the end of the road for the Jacks/Cadets/Flares at this point. In the early '80s, Aaron Collins wrote songs for John Water's Hairspray. He passed away in 1998. Prentice Moreland and Lloyd McGraw have also passed away.

  MY GRADING SYSTEMS: I’ve been told that I grade conservatively. My NM (near mint) is my highest grade for opened records (which would also include unplayed records). It’s a 9 or 10 on a 1-10 scale. M- would be equivalent to an 8; VG++ to a 7; VG+ to a 6; VG to a 5; VG- to a 4; G to a 3; F to a 2 and P to a 1. The same scale applies when I grade covers (jackets). Significant defects are specifically noted and taken into consideration in the grade.

  GRADING DESCRIPTIONS

  
  RECORDS:
  • GRADING Grading is based on the following criteria
  • Sealed = store stock new
  • Near Mint = like new or near new with only one or two small insignificant defects, a 9 or better on a 1-10 scale
  • Mint- = extremely nice. Would be Near Mint, except for a couple of light hairlines or scuffs, which do not affect play
  • VG++ = still a very nice record with all or nearly all of its original gloss but may have a few more light, surface marks, hairlines, needle tracks or the like which should not materially effect play
  • VG+ = a nice, but used record that may have a series of light scuffs or scratches. It probably plays with a few pops, but has no serious problems.
  • VG = a well-used record that still should sound OK when played, but may have moderate surface noise, pops, etc.
  • VG- = a very well-worn record that plays through without skipping, but will do until a better copy comes along.
  • Good = not actually good at all but probably will play through but with much in the way of surface noise, pops, crackles, etc. Still, will have no cracks, chips or the like
  • Fair = you’re getting this record just to own but not to play
  • Poor = the sky’s the limit, generally I will discard a record this bad (and sell the cover, jacket or sleeve alone) unless the label holds some particular interest

    VISUAL GRADING: All records are visually graded only unless I state that they are play-graded. Some labels such as RCA, Capitol, Colpix, Atlantic, MGM were pressed on better quality vinyl and will sound better than a record which visually appears the same on labels such as Crown, Score or Design. Recording techniques also varied. The sound on live albums may be far inferior to studio recordings. There may also be defects in the pressing which are invisible. The point is that an album on RCA graded VG+ may sound far better than an album on Crown graded Near Mint. I have no problem issuing a refund if you are dissatisfied with the sound on a record as long as it’s requested as per my stated return policy below. But please don’t be shocked if a record visually graded Near Mint doesn’t sound state of the art. If I base my grade on a PLAY GRADE, I will state this specifically in my grading section.

    COVERS: There are really too many possible defects regarding covers to be as specific in my definitions as I had been with my record grades. But please keep in mind these general grading guidelines:

    • I will give greater weight to the condition of the front cover than back cover when assigning an overall grade
    • No cover with a cut out hole or saw mark will be graded Near Mint even if it is still in factory shrink and there is no other wear
    • I will not reduce the grade of a cover for stickers which are glued to the jacket by the record company (eg. Contains the hit song The Twist); but will reduce the grade for stickers glued on the cover by stores, previous owners, etc.
    • If I write that a cover has a bb hole, I’m talking about a small cut out hole
    • A saw mark is a narrow cut in the perimeter of the cover, could be anywhere and vary in length from 1/2” to 2” at the most.
    • The overall grade takes into consideration any stated defects. For example, if I grade a cover VG+ and then state it has 6” top and bottom seam splits - I’ve already reduced the grade because of the seam splits. If the seams weren’t split, the cover would be graded higher such as VG++ or Mint-.

      Shipping Costs:

      As before, the buyer pays for shipping. For one or two albums, the cost for priority mail in the United States is $6.50. for media rate postage within the U.S. the cost will be $3.00.

      The cost for shipping a 7” record via 1st class is $2.50 and the cost for shipping a compact disc via 1st class is $3.20. Save money when I mail 2 or more records or items in the same package.

      Insurance is optional but highly recommended for “high ticket” purchases. The cost for insurance in the U.S. is $1.30 for up to $50; $2.20 for up to $100; $3.20 for up to $200 and $1.00 additional for each additional $100 of insurance. Rates are quoted in my winning bid notices. The shipping charges for box sets, multi-record sets and other items of non-standard size and weight will be quoted.

      If you live in a foreign country, please provide me with your address after the auction closes and I will give you postage rates.

      Please check out my other eBay auctions

      . I’ve been listing all types of records - mostly LP’s - including 50’s and 60’s rock ‘n’ roll, country, folk jazz, blues, personalities, new wave and punk, surf, psych, spoken word, comedy, etc., etc....... I try to list unusual, unique or obscure records, not the ones that you see all the time. While a majority of my listings are albums, you’ll often find a nice selection of 45’s, EP’s or picture sleeves...and an occasional 78 or two.

      My return policy: I don’t get many returns but customers are important to me so I like to offer a relatively hassle-free return policy. However, in order to return the record or other item, you must notify me by e-mail of your intent shortly after your receipt of the record or other item and within a reasonable time after the auction’s close. Also, the item must be returned in its original condition , i.e. the way it was shipped when it left my hands. While a very high percentage of my records arrive safe and sound (I use professional mailers and a filler or two, more for 78’s), they occasionally are damaged in transit. If that happens, I won’t accept the return of the record or other item - that’s why you have the option of obtaining insurance.

      Any other questions? About anything? Please e-mail me at ibuyvinyl@nc.rr.com .

      On Oct-27-03 at 10:00:04 PST, seller added the following information:
      
      

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