The Jewels
By Marv Goldberg
Based on interviews with Rudy Jackson
and Johnny Torrence
© 2000, 2009 by Marv Goldberg
Many of the East Coast's R&B vocal groups of the early 50s went
directly from gospel singing to the more commercial world of Rhythm and
Blues. The Jewels were one of the few West Coast groups that seem to
have had an analogous tie-in with the gospel music field.
Second tenor Johnny Torrence sang with several "jubilee"
groups, most notably the Kinsmen and the Hollywood Rising Stars, and had
appeared with his own group in a movie titled "Voices Of The
Southland." By 1953, however, he had left gospel music behind and
was operating some record stores. Through his contacts in the music
business, he booked local vocal groups, and even did a solo effort
("Sad Day"/"Bad Habit") for Imperial Records,
released in March 1953.
The following year saw Rhythm and Blues vocal groups becoming hot
commodities. Torrence got together with two former gospel singers (tenor
Dee Hawkins and bass James Brown), and they began to practice
harmonizing on both popular songs and spirituals. When the trio happened
to hear a smooth-voiced San Bernadino disc jockey singing along with
some R&B platters he was spinning (all DJ's are probably frustrated
musicians), they recruited him and made it a quartet.
This new member was second tenor Rudy Jackson, and the resultant
group called itself the Marbles. In March of 1954, they cut one disc for
John Dolphin's Lucky label ("Golden Girl," led by Rudy, backed
with "Big Wig Walk," fronted by Johnny). Torrence had known
Dolphin from the time he had sung gospel for the record label
entrepreneur.
A few months after "Big Wig Walk" was released, the group
added a fifth singer, baritone Vernon Knight. They had also, in the
interim, renamed themselves the Jewels, after Rudy's sister (because
they felt that they were going to sparkle). Through their manager, Cliff
Harrison, they hooked up with Larry Goldberg and Al Schlesinger, owners
of R And B records in Hollywood. At their first session, the group cut
"Hearts Of Stone," a tune Rudy had written (along with Eddie
Ray). The quintet had initially taken the tune to Art Rupe of Specialty
Records, but he assured them that the song would never make it.
It made it.
Unfortunately for the Jewels, however, the song was covered by Otis
Williams and the Charms on DeLuxe. Because of the superior promotion and
distribution of the King-Federal-DeLuxe complex, the Charms' version
vastly outsold the Jewels' original on a national level, although the
Jewels dominated the West Coast charts. The Charms took the song to #1
on the R&B charts (where it stayed for nine weeks), as well as #15
on the Pop charts. That in itself was quite an achievement, since the
Fontane Sisters cover became a #1 Pop hit. "Hearts Of Stone"
became the overall #6 R&B song on Billboard's 1954 charts.
(Once, at a show in Cleveland, Ohio, the Jewels found themselves on the
same bill with the Charms -- and it was the latter group which got to
sing "Hearts Of Stone." It's hard to think of anything sadder
to a singer.)
On September 11, the Jewels' "Hearts Of Stone" was listed as a
Territorial Tip in Los Angeles (along with Shirley Gunter's "Oop
Shoop" and the Medallions' "Buick 59").
The next R And B release was "Oh Yes I Know," backed with
"A Fool In Paradise" (a song written by Johnny Torrence, on a
ladder, while he was working for the telephone company). It was issued
in October 1954 (before "Hearts Of Stone" really took off).
That same month, the Jewels signed with the Ben Waller Agency and
started a tour of Arizona. Also in October, it was reported that their
"Hearts Of Stone" was doing well in Harlem.
"Oh Yes I Know" received an "excellent" rating on
October 16, 1954, along with Fats Domino's "Don't You Hear Me
Calling You," Charlie & Ray's "I Love You Madly," the
Penguins' "Earth Angel," Richard Berry's "The Big
Break," Lee Andrews & the Hearts' "Bells Of St.
Mary," the 5 Keys' "Ling Ting Tong," the Flairs'
"Hold Me, Thrill Me, Chill Me," the Bees' "Toy
Bell," and the Blue Dots' "God Loves You, Child." On
November 20, it was a Tip in Los Angeles, along with the Capris'
"God Only Knows" and Joe Houston's "All Night
Long."
In December, the third and final Jewels record was issued on R And B:
"Rosalie," backed with "Living From Day To Day." The
latter was the first time Johnny Torrence got to lead since "Big
Wig Walk." 
Also in December, R And B released a record by "Rudy Jackson and
the Mel-O-Aires": "I'm Crying" and "Enfold Me."
The Mel-O-Aires were Vera Potts, her sister Hattie, and Gladys Jackson,
three girls Rudy had grown up with.
With the Fontane Sisters' version of "Hearts Of Stone"
entering the Pop charts, it was reported in January 1955 that the Jewels
and the Charms were battling it out on the Harlem R&B charts.
On January 28, 1955, the Jewels appeared at Los Angeles' Shrine
Auditorium as part of Norman Granz's Rock And Roll Jamboree. They shared
the stage with Chuck Higgins, Joe Houston, Oscar McLollie, Richard Berry
and the Dreamers, Marvin & Johnny, Shirley Gunter and the Queens,
the Medallions, Gene & Eunice, and T-Bone Walker. The MCs were three
of the biggest local DJs: Hunter Hancock, Huggy Boy, and Charles Trammel
(who is credited with exposing the L.A. area to "Earth
Angel").
In April 1955, R And B label owners Al Schlesinger and Larry Goldberg
sold the Jewels' contract to Lew Chudd of Imperial Records, and on April
27, the Jewels recorded "Angel In My Life," "Hearts Can
Be Broken," and "Keep Your Feet On The Floor." Imperial
was said to be so impressed with "Hearts Can Be Broken" (a
blatant rip-off of the Jewels' own "Hearts Of Stone"), that they
pressed up DJ copies overnight and had the song on the air the very next
day.
On May 13, the Jewels began a 3-day stint at Billy Berg's 5-4
Ballroom, along with Joe Houston, Marvin & Johnny, and Jesse Belvin.
On May 14, in addition, they also did a show at the Torrance Civic
Auditorium. Later that month (the 22nd), they played a gig in Las Vegas,
with Bill Doggett.
On June 11, 1955, "Angel In My Life" was a Tip in Los
Angeles. In July, they appeared as part of Gene Norman's Jazz Concert
(at the Shrine Auditorium), along with the Clovers, the Meadowlarks,
Marvin & Johnny, the Voices, Earl Bostic, and Chuck Higgins.
While they were in town, on July 11, they recorded "Please
Return" and "Natural, Natural Ditty" for Imperial; the
tunes were issued the following month.
They were back in the studio on August 19, when they recorded
"Goin', Goin', Gone" and "Rickety Rock."
"Natural, Natural Ditty" was reviewed on September 3, 1955
(both sides "good"), along with the Royal Jokers' "You
Tickle Me Baby," the Du Droppers' "You're Mine Already,"
the Tangiers' "Tabarin" (written by Murry [sic] Wilson, father
of the Beach Boys), and the 5 Dollars' "Harmony Of Love." That
same month, they appeared at the 400 Club in San Diego.
There was another session held on November 14, 1955, at which they
recorded "No Shoulder To Cry On" and "How."
"How" was paired with "Rickety Rock" for a
January 1956 release. They were reviewed (both "good") on
January 21, along with Johnny Ace's "I'm Crazy Baby," Fats
Domino's "Bo Weevil," the Treniers' "Rock 'n' Roll
Call," the Royal Jokers' "Don't Leave Me Fanny," and the
Jaguars' "You Don't Believe Me."
Also in January (exact date unknown), they held their last session
for Imperial. This time they recorded "One Night,"
"Everybody Needs A Little Lovin'," "My Baby," and
"Skid Row."
In February 1956, they journeyed to Detroit, where they appeared at
the Riviera Theater, in a show hosted by DJ Robin Seymour (WKMH). The
others on the bill were the Bonnie Sisters, Frankie Lymon & the
Teenagers, the Teen Queens, the 5 Keys, and Ivory Joe Hunter. There were
two shows, held on February 20 and 27. In the interim, the whole cast
traveled to Cleveland, where they appeared at Keith's 105th Street
Theater, with DJ Phil McLeon (WERE) hosting the show. While there, they
also appeared on Bill Randle's show on WERE.
The final Imperial record was issued in April: "Goin', Goin',
Gone," backed with "My Baby." Not too long after this,
however, the Jewels broke up.
Not willing to quit that easily, however, Johnny Torrence got another
group of Jewels together and recorded "She's A Flirt" and
"B-Bomb Baby" for the Bihari's RPM Records. Unfortunately, not
much is known about this group. There was a tenor named
"John," a baritone named "Sam," a bass named Arthur
Wilson, and a fifth, unremembered, member (who sings lead on
"B-Bomb Baby). The tunes were released in September, 1956, and
reviewed on the 22nd (both "good"). Other reviews that week
went to Fats Domino's "Blueberry Hill," the Clovers'
"From The Bottom Of My Heart," Frankie Lymon & the
Teenagers' "The ABCs Of Love," Shirley Gunter & the
Flairs' "I Just Got Rid Of A Heartache," Young Jessie's
"Hit, Git, and Split," Artie Wilkins & the Palms'
"Darling Patricia," the Flairs' "Aladdins' Lamp,"
and the Jayhawks' "Love Train."
February 1957 saw a Rudy Jackson release on Imperial: "Give Me
Your Hand," coupled with "Teasing Me." "Teasing
Me" was rated "excellent" on March 16 (with "Give Me
Your Hand" ranked as "good"). Other reviews that week
went to Chuck Berry's "School Day," Bobby Marchan's
"Chickee Wah-Wah," the Heartbeats' "I Won't Be The Fool
Anymore," the Continentals' "Picture Of Love," the
Pretenders' "Close Your Eyes," the Chestnuts' "Who Knows
Better Than I," the Sophomores' "Is There Someone For
Me?," the 5 Satins' "Oh Happy Day," the Dominoes'
"Rock, Plymouth, Rock," and the Mellows' "Moon Of
Silver." (Note that the 1962 Angletone release of "Careless Love" by Rudy
Jackson and the Tradewinds was by a different singer with the same name.)
In 1959, Johnny Torrence formed a third Jewels group, consisting of Don Sampson (lead), Johnny Torrence (second tenor), Willie Willingham (bass), Eddie Wilson (tenor), and his brother, Al Wilson (baritone). They recorded "The Wind" (not the Diablos' song) and "Pearlie Mae" for Buck Ram's Antler label. Released in March of 1959, the record was reviewed on April 6 (both sides "good"),
along with Brook Benton's "Endlessly," Little Richard's
"Kansas City," the Ideals' "Knee Socks," the
Velours' "Blue Velvet," and the Shirelles' "Dedicated To
The One I Love."
After this recording, Johnny Torrence and the Jewels parted company. The others continued on as the Rollers, having three releases on Liberty and one on Bel Star in the early 60s.
1962 saw another Johnny Torrence record on Imperial: "Your Lover
Man," backed with "Rat Race." His last known record was
"I Had A Dream," coupled with "Strawberry Peak,"
which was issued on Monogram around 1976.
The Jewels were equally adept at singing straight R&B and
rollicking Rock and Roll, during a period when the distinction between
the two styles was becoming blurred. If it hadn't been for the Charms'
recording of "Hearts Of Stone," the Jewels might have had that
elusive national hit that all groups dreamed about.
LUCKY (as the Marbles)
002 Golden Girl (RJ)/Big Wig Walk (JT) – 3/54
R AND B
1301 Hearts Of Stone (RJ)/ Runnin' (RJ) – 9/54
1303 A Fool In Paradise (RJ)/ Oh Yes, I Know (RJ) – 10/54
1306 Rosalie (JT)/ Living From Day To Day (JT) – 12/54
IMPERIAL
5351 Angel In My Life (RJ)/ Hearts Can Be Broken (RJ) – 4/55
5362 Natural Natural Ditty (RJ)/ Please Return (JT) – 8/55
5377 How (RJ)/ Rickety Rock (JT) – 1/56
5387 Goin', Goin', Gone (RJ)/ My Baby (RJ) – 4/56
UNRELEASED:
Keep Your Feet On The Floor (JT)
One Night (JT)
No Shoulder To Cry On (JT)
Skid Row (JT)
Everybody Needs A Little Lovin' (??)
RPM (second group)
474 She's A Flirt (JT)/ B-Bomb Baby (??) – 9/56
ANTLER (third group)
1102 The Wind (DS)/ Pearlie Mae (DS) – 3/59
LEADS: RJ = Rudy Jackson; JT = Johnny Torrence; DS = Don Sampson
LIBERTY
55303 Got My Eye On You/Bonneville – 1/61
55320 The Continental Walk/I Want You So – 3/61
55357 The Bounce/A Teenagers' Waltz – 8/61
BEL STAR
102 The Bug/Troubles – 10/62
IMPERIAL
5230 Sad Day/ Bad Habit – 3/53
5897 Your Lover Man/Rat Race – 62
MONOGRAM
117 I Had A Dream/Strawberry Peak – ca. 76
R AND B
1310 I'm Crying (RJ)/ Enfold Me (RJ) – 12/54
IMPERIAL
5425 Give Me Your Hand/Teasing Me – 2/57