Jean Wells (born August 1, 1942) – Somebody's Been Loving You (But It Ain't Been Me) (1970)

The unsung singer/songwriter gave us this phenomenal upbeat jam, produced and arranged by Philly legends Ronnie Baker, Norman Harris and Earl Young.

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Jean Wells is an exceptionally talented, unsung singer/songwriter who wrote and recorded many phenomenal singles during the late 1960s that eventually became Northern Soul favorites.

Born in West Palm Beach, Florida, Wells sang in gospel choirs as a child and began playing the piano. At age 17, she moved to Philadelphia in search of her music industry dreams, and released her first singles on the Philly label Quaker Town in 1964 or 1965, produced by legendary soul-jazz organist Charles Earland.

Wells then briefly recorded for ABC Records before signing with producer Clyde Otis’ Argon Productions in 1966, who had a deal with New York City-based Calla Records. She spent the next few years in a highly prolific, creative state, releasing eight singles and one full-length album on Calla, the majority of which she wrote herself.

See the excellent recent post by

Nelson George

on the label's head Nate McCalla, bodyguard and muscle for mob-connected Morris Levy of Roulette Records, for background on the bona fide record industry gangsters who were profiting from Wells' genius while she was on Calla Records.

One of her first few Calla singles was the soulful slow burner “Have A Little Mercy” (1967) which was co-written by Otis, Ulysses (aka Dorian) Burton, and the great singer/songwriter Paul Kelly. It became her highest-charting hit, peaking at #25 R&B in December, 1967. Wells wrote the single’s B-side, the phenomenal upbeat jam “With My Love and What You've Got (We Could Turn the World Around).” Both sides were credited to Argon Productions on some pressings, and Otis on others, and were arranged and conducted by Horace Ott.

Writing in his book Soul Music Odyssey USA 1968, former UK music journalist Jonas Bernholm recalled seeing Wells in her Apollo Theatre debut on June 9, 1968, the day of Robert F. Kennedy's funeral:

“Jean Wells, a rather short, young lady made her debut at the Apollo with two great songs “Try Me And See” and “Have A Little Mercy.” The latter was perhaps the highlight of the whole show. It contained dramatic lines such as the opening “I never ever thought I’d live to see the day.” Her performance was even better than the recording. She walked from one side of the stage to the other with the microphone cord hanging behind her. What an afternoon! All fatigue was blown away.”

Besides Wells, that day’s bill included the Jive Five, the Spinners, the Delfonics, and headliner Jerry Butler.

Another of her singles on Calla was the superb jam “What Have I Got To Lose,” which she wrote, released in 1968. It was produced by Otis and co-arranged and conducted by the brilliant arranger Bert DeCoteaux and David Spinozza. That same year came the phenomenal gospel-soul ballad “Sit Down and Cry,” also produced by Otis and co-written by himself and songwriter Lou Stallman.

Around this time, Otis signed Philly musicians and fledgling producers Norman Harris, Ronnie Baker, and Earl Young to what Billboard’s July 26, 1969 edition (page 21) described as “exclusive production and management contracts,” although they would also be “available to other labels on a selective basis. Disks produced by the threesome for Argon and ready for release include Jean Wells.” In a few years, the trio would become studio superstars as core members of Philadelphia International Records’ house band MFSB.

Baker, Harris and Young were first officially credited with producing one of Wells’ singles in 1969, “Keep Your Mouth Shut (And Your Eyes Open).” The stellar upbeat soul/funk gem was written by Wells and originally produced by Otis in a funky 3:00 version, arranged and conducted by Spinozza, and released on Calla in February, 1969. Later that November, “Ronnie, Norman & Earl” produced a more polished yet still slamming 2:32 version of the same track, released on the short-lived Volare label.

The following year, they also produced, arranged and conducted her phenomenal upbeat jam “Somebody's Been Loving You (But It Ain't Been Me)” (1970). The single was released on Canyon Records out of Hollywood, the first label founded by brothers Renny and Wally Roker who later ran several other West Coast labels including Soul Clock. Wells wrote the track, plus its funky B-side “He Ain’t Doing Bad,” which was also a Baker, Harris and Young production. Otis’ frequent songwriting and production collaborator Belford “Sinky” Hendricks was additionally credited with “Musical Supervision” on both sides.

Unfortunately, Canyon had changed its name by the end of the year, after it was discovered there was already a Denver record label by that name. This made it even less likely Wells’ superb single would be noticed, and it failed to chart.

In 1972, with Baker, Harris and Young now fully consumed by their work with MFSB as Philadelphia International Records began to take off, Wells wrote and recorded a single that was produced by Clarence Lawton. Released on his own label Law-Ton Records, based in Teaneck, New Jersey (also home to the Isley Brothers), “Keep On Doin’ It” was an amazing upbeat soul/funk anthem with horns arranged by unsung PIR arranger Bobby Martin.

#soul #funk #Philadelphia #BakerHarrisYoung #CallaRecords #JeanWells