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Leave it to Omnivore Recordings to keep reminding us about valuable music, both past and present. The latest gifts, with more coming, are the first two volumes of the legendary D.C./Baltimore-based soul and R&B label, Ru-Jac. Specifically, they are The Ru-Jac Records Story: Something Got a Hold on Me – Volume I (1963-64) and Get Right – Volume 2 (1964-66). Ru-Jac Records was founded in 1963 by local promoter Rufus Mitchell and investor partner Jack Bennett, hence the hyphenated name. The label generally released regional singles from 1963 to the mid-1970s, when Mitchell resigned to explore other business interests. Omnivore has already released albums from two of the label’s biggest names Winfield Parker, “Mr. Clean – Winfield Parker at Ru-Jac” and Gene & Eddie, “True Enough: Gene & Eddie with Sir Joe at Ru-Jac.”
These collections though feature various artists, a total of 24 across 50 tracks in the two volumes. This is the first time anywhere that the audio history of the label will be presented with Volumes 3 and 4 due on February 2, extending the chronology from 1966 through 1980. All material is produced and compiled by Omnivore co-founder and Grammy-winning producer Cheryl Pawelski and deeply rich liner notes form East Coast soul historian Kevin Coombe. Ru-Jac artist Winfield Parker serves as consulting producer and helps oversee these projects.
Each Volume comes complete with a 15-page booklet detailing the history of the label and capsules on each of the artists when available. On Volume 1 two artists are listed as unknown, including those for the title track, “Something Got a Hold on Me.” Some of these tracks are being issued for the first time. Vocalist Branda Jones, who had both close ties to jazz and R&B, is featured on both volumes as is Winfield Parker. Perhaps the most recognizable name is Arthur Conley. Conley, of course, got his start at Ru-Jac and went on to later success at Muscle Shoals with recordings like “Sweet Soul Music” and his partnership with Otis Redding on Sam Cooke’s “Yeah Man.”
Keep in mind while listening that much of this music was transitioning from the R&B of the ‘50s into the kind of soul music that later dominated radio in the latter half of ‘60s from bigger labels like Stax and Volt. These artists, for the most part, played during the height of segregation and had little exposure to whiter audiences. Nonetheless, political statements are absent. These are mostly love songs from a very innocent time meant for a 45rpm turntable. We’re not hearing songs like “Let’s Go Back to School” or “Goose Pimples” these days. So, the nostalgia and upbeat notions for most of the material will likely bring a smile to your face. Yet, the history itself is rather fascinating too. Part of what makes almost every Omnivore project so worthwhile is the research and thorough approach to the accompanying notes. Be sure to soak that in too.
