He's relatively forgotten today, and his brand of uptown soul is dismissed by the relatively vocal clique of critics who prefer their soul deep and down-home. But Chuck Jackson
was a regular visitor to the R&B charts (and an occasional one to the pop listings) in the early '60s with such early pop-soul concoctions as "I Don't Want to Cry," "Any Day Now," and "Tell Him I'm Not Home." His records were very much of a piece with New York pop/rock-soul production, with cheeky brass, sweeping strings, and female backup vocalists. Those production trills make his work sound dated to some listeners, and his hoarse, emotional vocals weren't as subtle or commanding as peers like Ben E. King
or Wilson Pickett
. On its own terms, though, his best work is quite good, whether you prefer pop to soul or vice versa.
sang with one of the best doo wop groups, the Dell-Vikings
, for a while in the late '50s (although he doesn't appear on their hit singles). Spotted by Scepter Records while performing with Jackie Wilson's Revue
, he started recording for the label in 1961. As was the case with labelmates Dionne Warwick
and the Shirelles
's early-'60s arrangements blended pop, R&B, and New York-session professionalism. Like Warwick
was one of the first singers to successfully record Bacharach
material; one of his best singles, "I Keep Forgettin'" (1962), was written and produced by Leiber
had some success with some duets with Maxine Brown
in the mid-'60s, but he left Wand in 1967 for Motown, at the urging of Smokey Robinson
was (perhaps understandably) lost in the shuffle during his four years at Motown, and he's barely been heard from since, although he remains a favorite on England's "Northern soul" scene.