One-Hit Wonders and Their Albums: “Nobody But Me” and the Human Beinz
The history of the charts is full of one-hit wonders. These are artists who had — or are only remembered for — one huge hit. In many cases, the average music lover knows the hit, and can probably sing some or all of it from memory, but they haven’t a clue who the artist is or know anything else about their output.
In some cases, this is a deserved fate. Some folks get lucky and have that singular spark of genius or whatever you want to call it. Nothing else they release comes even close to the quality of the hit and they eventually fade away.
In other cases, however, the hit is the literal tip of the iceberg. That one song is all that floats above the surface of music that swirls around your ears like an aural ocean, but underneath there lies so much more. My goal is to periodically bring these lost treasures to light. Here’s one of them.
“Nobody But Me” by the Human Beinz
The Human Beinz – originally the Human Beingz – were from Youngstown, Ohio, and consisted of Mel Pachuta on bass and vocals, Richard Belley on lead guitar and lead vocals, Mike Tatman on drums, and Joe “Ting” Markulin on rhythm guitar and vocals. They released a couple of singles on the small Gateway label before Capitol Records showed up and somewhat broadened their horizons.
Radios all over America blew up in late 1967 when Capitol released “Nobody But Me.” Originally an obscure Isley Brothers track, the newly signed Human Beinz had taken an already great song and made it their own with the kind of reckless abandon that rock ‘n’ roll would lose over the next few years.
Plus, they used the word “no” around three dozen times in 136 seconds. How more rebellious can you get?
The single took off and eventually made it to #8 on the Billboard charts in 1968. An album was the next logical step, and in March of 1968, the Nobody But Me long player entered the album charts and eventually made it to #65.
A few singles and another album followed, but it became obvious that — despite a huge following in Japan — they were doomed to be members of the dreaded one-hit wonder club in America. The Human Beinz did a final tour in Japan, and even released a live album there, before disbanding by the end of the decade.
So, looking back almost 50 years later, what are we to think of the Human Beinz?
First, check out their follow-up single to “Nobody But Me.” Coincidentally (or not), it’s another R&B cover. This time, they took Bobby “Blue” Bland’s classic “Turn On Your Love Light” and again made it into a whole new monster.
For reasons not worth trying to explain, “Turn On Your Love Light” was the first Human Beinz song I ever heard, so it’s always been near and dear to my heart, which might explain my bias. Don’t get me wrong — I really dig “Nobody But Me,” but “Love Light” is the song for me! It should have been just as big as “Nobody But Me.” Alas, it only made it to #80, and that was it for the chart success of the Human Beinz.
You can find both singles on the Nobody But Me album, along with their flip sides and seven others. Aside from a straightforward cover of Jimi Hendrix’s “Foxy Lady” and a really inspired cover of the traditional “Black is the Color of My True Love’s Hair,” the rest of the album is a very original mixed bag of tunes.
Three of the songs were written by their producer Lex De Azevedo. “Serenade to Sarah” is a pretty yet ominous track, and “It’s Fun to be Clean” is lyrically silly but musically fulfilling. “The Shaman” is the trippiest of the three and almost makes the album worth seeking out on its own merits:
The band members themselves had plenty to offer as well. Check out Richard Belley’s “Flower Grave”:
https://www.youtube.com/watch?v=geabI-jtP5s
This is a good time to take a breath and point out just how good these guys were as a band. Their harmonies are just downright gorgeous on some of these tracks, and as musicians, they sound like they’ve been playing together for years and years.
Back to the original question: is the album Nobody But Me worth picking up? Absolutely! Despite being named after one of the most well-known and well-worn oldies staples out there, it’s an album that delivers the goods musically and proves to be a very interesting sonic trip.
Thankfully, the album has been reissued on CD by Collectables along with their second album, Evolutions. I cannot recommend this compilation enough, because while the Beinz’s first album is great, Evolutions is even more daring and satisfying.
Granted, the weirdness factor goes a little overboard with Evolution‘s “Two of a Kind,” which starts as a countrified song that evolves into what sounds like a piano being dissected — literally — but the rest of the album is a lot easier on the ears and the instruments.
Exhibit A, “My Animal”:
The rhythm guitar really stands out on this track, and on the whole album in general, which gives it an unusual sound for 1968.
“April 15th” closes out the album and gives the Human Beinz seven minutes or so to stretch out and show off just how good they were as musicians:
Admittedly, I digressed a bit from the original topic, but it was necessary. The Human Beinz are remembered for one hit, and it’s a great tune. But man oh man, they had so much more to offer, and while their two albums leave you wanting so much more and wishing they could have held on for a few more years, you’re also thrilled that there’s a lot to enjoy anyway. It’s all too rare that a true one-hit wonder had so much quality material, but when you find it, it’s so gratifying!!
I’ve never seen either album up close, but they’re out there. If you want to save yourself some time and avoid some financial woes, seek out the Collectables CD instead. The sound quality is great, and while the liner notes aren’t too detailed, you still learn quite a bit about a very elusive group.
And if you’re so inclined, try to figure out why these guys were so big in Japan. That’s the part that still blows my mind.
Take a listen to Nobody But Me:
