45 RPM: The Sheps - Early Bird 5002-95

I'm Destroyed (Because Of You)

written by Tommie A. Shider

performed by The Sheps

recorded 27 July 1995

Formed by Tommie Shider (lead tenor) and Richie Camacho (second tenor) in 1992, their name is in honor of James "Shep" Sheppard, who sang with The Heartbeats and Shep and The Limelites.  In their first year of performing, The Sheps won the United In Group Harmony Association's prestigious Rookie Of The Year.  In 1994, UGHA declared them Veteran Group Of The Year, an unprecedented triumph.  Along with Shider and Camacho, The Sheps, at the time this record was produced (to the best of my knowledge), included Alfonso "Bo" Lewis (first tenor), Hervon McNeil (baritone) and Williams Lane (bass).  One thing that helps The Sheps stand out is Tommie's ability to write new material for his group.  "Me, My Tears and A Jukebox," the title of their debut album, is one such example.  This side of their Early Bird single from a year later is another.

I Wonder Why

written by Esther Navarro

performed by The Sheps

recorded 3 August 1995

As I type out this blog, almost 13 years after I started producing radio programs that featured classic street corner harmony, I still find it funny that one of the biggest complaints I received, during the early years, was that I played material that was either too "old" or too "new."  I could see the point of playing a heavier does of material that was too "old" from the pioneering groups. These recordings might start sounding too dated and old fashion, to some, and the listener might lose interest. I will give you that much. However, the argument for playing material that was "too new" bothered me a lot. A record like this is a prime example. One side is a new composition and the other is a fine acapella version of The Cadillacs' classic from July 1954.  Sadly, I found that certain audiences would much rather hear The Cadillacs' original recording than this newer recording, even though it is excellently executed.  Also, this same crowd is less likely to give the original composition a fighting chance. It is practically a proven fact.  "Street corner harmony" fans are highly bias and have strong opinions of what is or is not a part of this genre.  Either, they are collector oriented and only want to hear what is "hardcore," "collectible" and "rare" or they are the "oldie but goodie" bunch that are just listening for memories.  If it is not something they know by heart, they do not really want to hear it.  In both cases, they gravitate towards the something very much not contemporaneity produced. To this day, I shake my head and wonder, "how are you suppose to keep an art form alive if you do not support the next generation of artists keeping it going?"   

Released as Early Bird 5002-95 in 1995.