Title: True Enough: Gene & Eddie with Sir Joe at Ru-Jac
Artist: Gene & Eddie
Formats: CD, LP, Digital
Release date: September 2, 2016
This new CD from Omnivore features the first-ever compilation of 16 single sides (plus 5 bonus tracks) cut by Washington, D.C soul duo Gene & Eddie for the Baltimore-based Ru-Jac label. True Enough also includes several rare sides recorded by the talented producer, songwriter, trumpeter and vocalist who recorded as Sir Joe. The careers of these three artists—otherwise known as Eddie Best, Jr., Eugene Alton Dorsett, and Joe Quarterman—intertwined throughout the 1960s through various regional acts.
Eddie & Gene had been performing in D.C.’s Black nightclubs when they were tapped to front the Nightcaps, adding the soul to a band comprised of white and Jewish musicians. This, in turn, opened up new avenues of opportunity for the group as well as time in the recording studio. Meanwhile, Joe Quarterman had formed several vocal groups including the Knights, and fronted two different female groups: the El Corols and the Maidens. By 1965 he was recording his own tracks for Ru-Jac owner Rufus E. Mitchell (1909-2003), including “Nobody Beats My Love” and “A Guy for You”—both included here. Two years later these three artists signed to Ru-Jac, with Quarterman writing songs for Gene & Eddie, including the CD’s rousing opening tracks, “I Would Cry” and “I Tell You.”
The liner notes by Kevin Coombe document the many trials and tribulations of these three artists for the remainder of the decade. As is the case with most struggling musicians, they never quite made the big time. For the most, all three part had left the music industry by the early ‘70s. Sir Joe released a single on Ru-Jac in 1970 featuring two of his own songs—“Baby, I’d Drop Every Thing” and the more hard driving “Every Day (I’ll Be Needing You)” (tracks 11 and 12). The final recordings by Gene & Eddie, “Darling I Love You” and “Why Do You Hurt Me,” were released in 1971 (tracks 15 and 16).
Listening to these tracks five decades later, one can certainly appreciate the raw energy and talent of the artists and songwriters, but perhaps a bit too raw and unpolished for chart success. Most of the songs sound more like demos, cut in a hurry and on a tight budget. Nevertheless, True Enough expands our knowledge of these three artists while shining a light on the local DC soul scene of the 1960s.
Reviewed by Brenda Nelson-Strauss