Will 'Dub' Jones is the lead bass-I Got Loaded
Written-By -- Harris* The Los Angeles-based Jacks were so good at covering popular hits of the day that their versions were often equal to (if not better than) the original versions. They were versatile in R&B, jump tunes, ballads, calypso songs, and recorded some of the greatest early rock & roll songs ever, including "Stranded in the Jungle" (released in June of 1956, and charting at number four R&B/number 15 pop). Mostly, though, the Jacks are remembered for recording under two names simultaneously: as the Jacks (for Modern) and the Cadets (for RPM). Each group had its own hits and each with a slightly different sound and musical direction.
The Jacks/Cadets began as a gospel group during the late '40s in Los Angeles, under the guidance of former Dixie Hummingbirds' baritone Lloyd McGraw. In 1954, McGraw joined up with first tenor Austin "Ted" Taylor, lead and second tenor Aaron Collins (brother of Betty and Rosie Collins, who recorded as the Teen Queens), tenor Willie Davis, and Will "Dub" Jones (lead and bass), who possessed a stratospheric falsetto. The band on most of the group's sessions was lead by tenor saxophonist Maxwell Davis.
It was Modern's Joe Bihari who came up with the idea of having one group with a split personality, envisioning the Jacks as a ballad harmony group utilizing the writing talents of Aaron Collins and the Cadets as an up-tempo and novelty song quintet who mostly covered other acts' material. As a rule, either Dub Jones or Aaron Collins sang lead on the Cadets recordings, while tenor Willie Davis fronted the Jacks.
In late 1954, the quintet — as the Cadets — recorded a version of Nappy Brown's "Don't Be Angry" and a calypso-flavored cover of "Rolling Stone," which outsold the original by Excello's Marigolds. Later, the Cadets issued their third single, "I Cried," backed up singer Dolly Cooper on "My Man," Young Jessie on "Mary Lou," and Richard Berry on "Jelly Roll" and "God Gave Me You."
By the summer of 1955, the Cadets had released "Annie Met Henry," a single that fell in line with the whole "Annie" craze created in the aftermath of Hank Ballard & the Midnighters' big hit "Work With Me Annie," which had been released some 16 months earlier and was still going strong. The public was quickly tiring of the whole "Annie" phenom, however, so DJs flipped over the 45 and gave the B-side, "So Will I," the push instead.
