Vernon Lindsey’s musical journey began in the sanctified rhythms of a South Side Chicago church and flowed seamlessly onto the city’s street corners and legendary stages. In this compelling interview with Bob Abrahamian, Lindsey recalls his roots with the doo wop group 47th Street in the 1950s, his time under the mentorship of Al Benson, and the formation of the powerhouse trio Split Evolution in the 1970s. With members Eli Jones and Roland Parker, Lindsey crafted lush, three-part harmonies that captured Chicago’s soul legacy. The group self-produced, resisted shady industry deals, and left a trail of unforgettable performances—preserving soul music’s creative integrity.
How Vernon Lindsey and Split Evolution Kept the Soul Alive
In the heart of Chicago’s South Side, where gospel choirs gave way to street corner harmonies, Vernon Lindsey’s voice first took shape—nurtured in a church pew, sharpened on sidewalks, and ultimately etched into the undercurrents of American soul music. In this rare and deeply personal interview with Bob Abrahamian on WHPK’s Sitting in the Park, Lindsey retraces a journey that spans over three decades, culminating in the formation and legacy of Split Evolution—a group that married classic soul integrity with a fiercely independent spirit.
The Doo Wop Foundations of 47th Street
Lindsey’s first group, 47th Street, came together in the mid-1950s amidst a thriving Black cultural landscape on the South Side of Chicago. Back then, street-corner doo wop wasn’t just music—it was a rite of passage. Lindsey recounts performing around 47th and Dearborn, attending Coleman Elementary and DuSable High School, and battling rival groups within blocks of his neighborhood. The group caught the attention of Al Benson—a pioneering radio DJ and producer known for booking acts at the Regal Theater.
Benson’s influence looms large in Lindsey’s narrative. A visionary who understood the power of live vocal harmony, Benson introduced Lindsey’s group to stages where legends like Stevie Wonder and The Temptations once stood. That early exposure grounded Lindsey in a tradition of excellence and performance ethic that would shape the rest of his life.
Split Evolution: Three Voices, One Sound
By the late 1960s, 47th Street had disbanded, but Lindsey’s creative drive only intensified. Alongside Eli Jones and Roland Parker, he formed Split Evolution in the early 1970s. They named themselves with a mission: to break away from the conformity of the industry while evolving soul music through layered, rich harmonies. “Three voices sounding like four or five,” as Lindsey described.
Their first major single, Jump Street, released in 1976 on Wasp Records, carried that vision forward. Produced by Bruce Thompson and featuring psychedelic funk textures, the song defied genre boundaries. It was an underground hit, earning radio play on stations like WVON and WMPP—but its reach was limited by an industry entrenched in payola and politics. Despite receiving offers from labels like 20th Century and names on Chicago’s famed Record Row, Lindsey and the group opted to protect their autonomy.
Blackballed but Not Broken: The Three Phases of Evolution
Split Evolution’s refusal to compromise may have cost them wider fame, but it deepened their legacy. When industry obstacles mounted, they rebranded as The Three Phases of Evolution and released If Only You Would Say I Love You around 1983—featuring new member Leslie “Candy” Davis, whose high tenor brought fresh sonic depth. Though pressed on their own Jump Street label, the track never reached mainstream audiences. “We were blackballed,” Lindsey admits—unspecified but telling of the challenges faced by independent Black artists operating outside the gatekept channels of the music industry.
Despite the hurdles, the group toured extensively—headlining shows across the U.S., from Pasadena to military bases in North and South Dakota. Often playing both vocals and instruments, they incorporated fashion shows and full-scale performances long before multimedia became the industry norm. They were ahead of their time, both in style and sound.
Legacy in Motion: From House to Hardcover
By the 1980s, Lindsey continued exploring new genres, even stepping into the house music wave that emanated from Chicago’s underground scene. Recording Sexy Lady with DJ International and preparing solo tracks like Do Your Own Thing, Lindsey adapted to the times without abandoning his roots. “I don’t chase after anything,” he said, reflecting a lifelong devotion to authenticity over fame.
Now working on a collection of 78 unreleased songs and a forthcoming book—Episodes of Jump Street—Lindsey sees his story not as a retrospective, but a continuation. His evolution mirrors that of soul music itself: born in gospel, shaped in struggle, resilient through every change.
A Tribute to the Unsigned Heroes
What emerges most clearly in this interview is not just the biography of a group or a man, but a testament to an entire tier of soul artists who never topped charts but deeply shaped the soundscape of Black America. Split Evolution’s story is one of quiet rebellion—against exploitative record deals, against conformity, against the fading of soul’s communal essence.
Bob Abrahamian’s conversation with Vernon Lindsey preserves this critical slice of history. It reminds us that the heart of soul music was never only about hits—it was about harmony, community, and the courage to sing your own truth.
Bob Abrahamian 00:00
Okay, you're tuned to WHPK 88.5 FM in Chicago. You're listening to the Sitting in the Park show. Today, I have a special show because we'll be starting off with an interview with a singer and musician named Vernon Lindsey, who was in a group called Split Evolution. So we'll be going over his story.
First of all, thanks so much for coming down to the studio. I appreciate you being here.
Vernon Lindsey 00:29
I'm from Chicago, Illinois—South Side.
Bob Abrahamian 00:33
Okay, and how did you get involved with music originally?
Vernon Lindsey 00:35
From church. I was just a little bitty kid, from about two years old up until now. I'm still into music, in a sense.
Bob Abrahamian 00:46
And how old were you when you first got involved with secular music?
Vernon Lindsey 00:51
About 10 years old. Do you remember Frankie Lymon and the Teenagers? Okay, I had a group back then when I was a teenager. Al Benson was trying to look for a group to beat Frankie Lymon and the Teenagers, so that’s actually how I got really involved. But I started singing in church.
Bob Abrahamian 01:09
So what year was that group together, and what was the name of that group?
Vernon Lindsey 01:15
We just called ourselves 47th Street.
Bob Abrahamian 01:18
Okay, so you were living around 47th?
Vernon Lindsey 01:22
Yeah, 47th and Dearborn. But my area was really from 46th to 49th Street.
Bob Abrahamian 01:30
Okay, and your group was just called 47th Street?
Vernon Lindsey 01:33
Exactly.
Bob Abrahamian 01:38
And how did you get hooked up with Al Benson at the time?
Vernon Lindsey 01:40
Benson was a well-known producer. He produced Doo Wop shows at the Regal Theater.
Bob Abrahamian 01:45
And how did he know you?
Vernon Lindsey 01:47
Al Benson was the type of guy who loved music—he loved Doo Wop. He would have, not hip hop, but Doo Wop shows. That’s where we would go do stepping, but it was bebop at that time. He would come into the neighborhood and listen. There were older groups singing in my time, so we would try to outdo the older guys.
Bob Abrahamian 02:12
Do you remember the name of any of those older groups?
Vernon Lindsey 02:14
No.
Bob Abrahamian 02:18
So how did you meet the other guys in your group?
Vernon Lindsey 02:20
We all stayed in the same area and went to the same schools.
Bob Abrahamian 02:23
What school were you going to?
Vernon Lindsey 02:25
I went to Coleman Elementary School, and then I went to DuSable High School.
Bob Abrahamian 02:27
Okay, so did you continue with the same group through high school?
Vernon Lindsey 02:32
Yes, until the late 60s, and then I formed another group. As we got older, we separated.
Bob Abrahamian 02:41
So your high school group was still called 47th Street?
Vernon Lindsey 02:44
Yes.
Bob Abrahamian 02:45
And what years was that group active?
Vernon Lindsey 02:51
From 1954 up until 1958.
Bob Abrahamian 02:55
Did you ever run into any other South Side groups that you battled around that time?
Vernon Lindsey 03:02
Just groups from different areas. You could go into a two-block radius and find two or three other groups.
Bob Abrahamian 03:12
Okay, but you don't remember the names of any rival groups?
Vernon Lindsey 03:14
No.
Bob Abrahamian 03:25
So you said you were together until the late ’60s?
Vernon Lindsey 03:28
Yeah.
Bob Abrahamian 03:29
And so you did a show that Al Benson put on?
Vernon Lindsey 03:31
Yeah, at the Regal Theater. See, I loved music. I've been around some famous, famous entertainers—the Temptations, Stevie Wonder. My face was so well known at the Regal Theater on 47th and King Drive, I would go there from 12:30 in the afternoon until 11:30 at night. They would actually take me into the back to see the entertainment. I got a chance to meet Stevie Wonder. He felt my face and told me the color of my skin, how tall I was.
Bob Abrahamian 04:01
Wow, so is that how you knew Al Benson? Because you were always around the Regal Theater?
Vernon Lindsey 04:04
Exactly.
Bob Abrahamian 04:05
So that show you did—did you perform against Frankie Lymon, or were you just doing songs like Frankie Lymon?
Vernon Lindsey 04:10
Al Benson was looking for a group, but see, Frankie Lymon and the Teenagers—people thought they were a Mexican group. On that label, I believe there were three Mexicans and two Black guys. But no, we didn’t perform with them—we were just doing songs in that style. We didn’t record anything at that time. We were just singing on street corners.
Bob Abrahamian 04:36
Did you do any other shows besides that one Benson put on?
Vernon Lindsey 04:39
Just more at grammar school and high school.
Bob Abrahamian 04:45
And you were together during your time at DuSable High School?
Vernon Lindsey 04:47
Yes.
Bob Abrahamian 04:50
And DuSable had a famous talent show, right?
Vernon Lindsey 04:52
Right. DuSable had many famous talent shows. Captain Dyett—he ran the bands, and he was good. I was also good with vocal arrangements.
Bob Abrahamian 05:02
Okay, so you worked on vocal arrangements?
Vernon Lindsey 05:04
Yeah, I was just blessed with that. I couldn’t read music, but I could tell individuals what key to sing in, and I could tell the band what to play and how to play it.
Bob Abrahamian 05:15
Was that talent show at DuSable called the Hi-Jinks?
Vernon Lindsey 05:20
Yes, it sure was. That’s what it was called—Hi-Jinks.
Bob Abrahamian 05:23
And were you in the Hi-Jinks with your vocal group, or solo?
Vernon Lindsey 05:29
Well, the guys from 47th Street mostly went to Dunbar, so I actually sang with some individuals at DuSable who weren’t in 47th Street.
Bob Abrahamian 05:40
Okay, so then you said the original group broke up in the late ’60s. What was the new group you formed?
Vernon Lindsey 05:48
I actually didn’t form a group until we got with Split Evolution. That was in the mid-’60s.
Bob Abrahamian 05:55
Wait, was that the ’60s or ’70s?
Vernon Lindsey 06:00
The ’70s.
Bob Abrahamian 06:04
So there was a period where you weren’t in a group before you formed Split Evolution?
Vernon Lindsey 06:07
Well, Eli—that's the original Split Evolution member—he and I had been singing together since the mid-’60s into the ’70s.
Bob Abrahamian 06:12
How did you know Eli?
Vernon Lindsey 06:14
We worked together.
Bob Abrahamian 06:16
And then you started singing with him? Were you just singing on the corner?
Vernon Lindsey 06:20
No, Eli and I would write songs together. We would rehearse in my basement.
Bob Abrahamian 06:30
So by then you had moved farther south?
Vernon Lindsey 06:32
Yes.
Bob Abrahamian 06:34
So you knew Eli. When did you end up forming a group with him?
Vernon Lindsey 06:41
We originally performed as Lindsay and Jones. Then we met Roland Parker, and that’s when we became Split Evolution.
Bob Abrahamian 06:50
When did you meet Roland?
Vernon Lindsey 06:53
In the mid-to-late ’60s. I’d say around 1968, something like that.
Bob Abrahamian 06:59
So you formed Split Evolution in the late ’60s?
Vernon Lindsey 07:01
Yes.
Bob Abrahamian 07:03
How did you come up with that name?
Vernon Lindsey 07:06
All three of us came up with it. We had a bunch of names in mind. We were just talking, and we agreed on “Evolution.” Time is part of evolution. We said we were going to break the mold—bring back two- and three-part harmonies that would sound like four or five voices. So we called ourselves Split Evolution—of time.
Bob Abrahamian 07:29
And so what did you guys originally do? Did you start by doing shows?
Vernon Lindsey 07:35
First, we wrote original songs and started working on our vocal arrangements. We had some tight harmonies—for just three guys, really tight harmony. Once we got it together, we started performing. We would go out to different lounges and sing. I remember one place in Harvey—Function at the Junction, on 147th Street.
Bob Abrahamian 08:19
That’s in Harvey, Illinois?
Vernon Lindsey 08:21
Yes. That’s actually where I got the chance to meet Marvin from the Dells, Mickey, and Vern. They had to pull them out because we sang and sounded better than them—and there were five of them at the time!
Bob Abrahamian 08:34
At Function at the Junction?
Vernon Lindsey 08:35
Yes, right there at 147th and Dixie Highway.
Bob Abrahamian 08:39
Were you inspired by any specific vocal groups, or did you just have your own sound?
Vernon Lindsey 08:44
I loved music—especially Doo Wop. At that time, you rarely heard just two or three people singing with tight harmonies. I wanted three voices to sound like four or five, and we were able to do that.
Bob Abrahamian 08:55
So you started performing. When did you first begin doing shows? Early ’70s?
Vernon Lindsey 08:57
Yes. We produced our own shows. Our first show was at the Roberts 500 Room.
Bob Abrahamian 09:06
That was in the ’70s or ’60s?
Vernon Lindsey 09:09
That was in the ’70s, Bob. If you look at that plaque, it actually has the date on it from the show we produced ourselves.
Bob Abrahamian 09:18
I think it says 1978 on that plaque?
Vernon Lindsey 09:20
No, not that one. The other one. But yes—it was the ’70s.
Bob Abrahamian 09:25
So your first show as Split Evolution was in the early ’70s at the Roberts 500 Room?
Vernon Lindsey 09:28
Yes.
Bob Abrahamian 09:30
What were your shows like? You said you sang a Dells song at that show in Harvey. What kind of material did you perform?
Vernon Lindsey 09:34
Mostly our own material. But we also did songs by the O’Jays, the Dells—groups like that. Still, the majority of our material was original.
Bob Abrahamian 09:44
Did anyone offer you a record deal?
Vernon Lindsey 09:46
We got quite a few offers.
Bob Abrahamian 09:48
Where were those offers coming from?
Vernon Lindsey 09:52
We never signed with anyone. There was too much dirt in the business. Too many shady dealings. We were a group coming up with a strong sound, and I was very protective of how we were going to be treated. Sure, we could’ve been famous, but there was so much “hanky-panky,” as they called it in those days.
Bob Abrahamian 10:22
So you got offered record deals, but you never signed with any record labels?
Vernon Lindsey 10:25
That’s right. I mean, 20th Century was around, and there were a lot of labels with recordings on Michigan Avenue—record row—like Brunswick, Chess. But we never signed. The closest we came was with the Wasp label. We also had our own label—Jump Street, which was also the title of our song.
Bob Abrahamian 11:00
Okay. Well, let me play the Wasp record, since we’ve been talking for a while. Then we can talk about how you ended up doing that record.
Vernon Lindsey 11:05
I appreciate that.
Bob Abrahamian 11:30
So this is Split Evolution with their very first record. I think this came out in 1976, and it’s called “Jump Street.”
Bob Abrahamian 15:17
Okay, that was Split Evolution with the first record they released, called Jump Street. It was released in 1976. So, the group had been together for a few years before that came out, right? Who were the group members on that record?
Vernon Lindsey 15:31
Eli Jones, Roland Parker, and myself.
Bob Abrahamian 15:36
And yourself is Vernon Lindsey?
Vernon Lindsey 15:38
Vernon Lindsey, yes.
Bob Abrahamian 15:40
And you all switched leads on that? There wasn’t really just one person taking the lead?
Vernon Lindsey 15:42
Exactly. One thing about Split Evolution—all of us could lead. And if you could just hear us sing… I’m not saying this just because I was part of the group, but we had a unique sound. For just three guys, we had tight harmony—really tight.
Bob Abrahamian 15:55
That record came out on a label called Wasp Records?
Vernon Lindsey 16:01
Yes. That was Frank Walker’s label. Frank actually worked with blues artists, but we produced our own show in ’76 at the Dan Ryan Lounge. Frank was there, getting ready to do a blues show after ours. He saw us perform and said, “I would love to record you all on my label.” And that’s how we got with Frank Walker.
Bob Abrahamian 16:32
Where did you record that song?
Vernon Lindsey 16:36
That was done on Michigan Avenue—record row. Bruce Thompson was our music producer.
Bob Abrahamian 16:42
Bruce Thompson?
Vernon Lindsey 16:44
Yes, Bruce Thompson. I’m sorry—I got a little mixed up there. He produced the track.
Bob Abrahamian 16:54
Who wrote the song?
Vernon Lindsey 16:57
Roland Parker, Eli Jones, and myself—we were the actual writers of Jump Street. That’s also the name of our record label: Jump Street.
Bob Abrahamian 17:06
And that song had a psychedelic, almost funk-like sound.
Vernon Lindsey 17:09
Yes. That was Bruce Thompson’s influence. He came up with and produced that sound.
Bob Abrahamian 17:14
Did he also play the keyboards on the track?
Vernon Lindsey 17:16
Yes, Bruce is a dynamic musician. He likely played keyboards and helped shape the arrangement.
Bob Abrahamian 17:26
And the lyrics?
Vernon Lindsey 17:28
We all contributed to the lyrics as well.
Bob Abrahamian 17:29
So that record came out in 1976. Did it get much radio play in Chicago?
Vernon Lindsey 17:35
Yes, we got good play—but at the time, like probably still today, there was that whole “payola” thing going on. We got airplay on stations like WVON, WMPP out in Chicago Heights, and a lot of college stations were spinning it. But once the payola stopped coming in, they took it off rotation.
Bob Abrahamian 17:55
Yeah, it’s hard to get anything played without big backing.
Vernon Lindsey 17:59
Exactly.
Bob Abrahamian 18:06
So you stayed together and continued performing?
Vernon Lindsey 18:08
Yes, we stayed together because all three of us loved to sing. We started producing our own shows. After we did a show at Roy’s Lounge on 95th Street—that’s when Natalie Cole was just starting to get famous—we opened for her there. After that, we started traveling out of town—to Springfield, New York, California—we did a lot of touring. We played a lot of college campuses and military bases: Army, Navy, Air Force.
Bob Abrahamian 18:37
So at that time, you were a vocal group, right?
Vernon Lindsey 18:40
Yes, we were a vocal group, but we also had our own band.
Bob Abrahamian 18:44
Split Evolution was the three singers, and you had a separate band?
Vernon Lindsey 18:50
Yes. Our band was called S.E.L.T.—Split Evolution Limited.
Bob Abrahamian 18:55
How did you meet the guys in the band?
Vernon Lindsey 18:59
From going to different lounges. People would hear us sing, and that attracted musicians to us. For example, my sister lived on 117th Street, and we used to sing a cappella in her house. A lot of musicians from local schools came by and wanted to join us. That’s how we put our band together.
Bob Abrahamian 19:21
So the band members were younger guys?
Vernon Lindsey 19:24
Yeah, they were younger than us. Like Marshall Shallack, Reggie Thomas—he used to go on the road with other acts, but after he heard our sound, he became our road manager.
Bob Abrahamian 19:41
So Reggie Thomas was your manager and helped set up all those shows?
Vernon Lindsey 19:44
Yes.
Bob Abrahamian 19:47
When did you first start traveling outside of Chicago?
Vernon Lindsey 19:50
Right after we did that show at Roy’s Lounge on 95th with Natalie Cole. That’s when we really started going out of town.
Bob Abrahamian 19:56
What were the shows like? Did you open for big-name acts?
Vernon Lindsey 20:01
No, we were usually the headliners for our own shows. We had a large variety of music—mostly our own. Our band would do a set, and then we’d come out and do ours.
Bob Abrahamian 20:14
And what were your shows like? You were telling me earlier that you even had a fashion show?
Vernon Lindsey 20:21
That came later—after we came back from touring. Like how hip-hop acts today have dancers, we had live models. They didn’t perform with us; they would do a runway-style fashion show first, then we’d come out separately and do our part. It was a two-part show.
Bob Abrahamian 21:00
So can you talk a little more about the tour you did? You said you traveled all over the U.S. How long was that tour?
Vernon Lindsey 21:11
When we went to California, we stayed for about a month and a half. They flew us out—we performed in Pasadena. It was beautiful. I don’t remember the name of the venue, but it had one of those stages that rises up from the floor and spins around. We also toured North Dakota, South Dakota, and played a lot of college and military bases.
Bob Abrahamian 21:47
What were the audiences like, especially in places where they hadn’t heard your music yet?
Vernon Lindsey 21:53
They didn’t know us at first. But every time we got to a new town, Reggie would get us on the local radio station. They’d start playing our 45s—either Jump Street or If Only You Would Say I Love You. That helped build the buzz.
Bob Abrahamian 22:12
Speaking of which, let’s talk about your second record, If Only You Would Say I Love You.
Vernon Lindsey 22:19
Right—that one was released under the name “The Three Phases of Evolution.” We changed our name because we got blackballed.
Bob Abrahamian 22:28
Split Evolution got blackballed?
Vernon Lindsey 22:31
Yes. We were really about to blow up, but there were things going on behind the scenes that I’d rather not talk about publicly. After that, we started playing mostly military bases. We got blackballed from major venues.
Bob Abrahamian 22:50
Okay, well let me play that second record and we can talk more after.
Vernon Lindsey 22:55
Oh, by the way—this second record wasn’t with Roland Parker. This was with Leslie “Candy” Davis, who replaced Roland. He had that high voice.
[music playing]
Bob Abrahamian 28:00
Okay, you’re tuned to WHPK 88.5 FM in Chicago. That was The Three Phases of Evolution with If Only You Would Say I Love You, released around 1983. You mentioned one of the members had changed?
Vernon Lindsey 28:30
Yes. The high tenor lead on that record was Leslie “Candy” Davis.
Bob Abrahamian 28:36
How did you know him?
Vernon Lindsey 28:40
Eli and I were still singing together, and Candy saw one of our shows. Roland had fallen in love and moved back to Little Rock, Arkansas, so we always had someone ready to fill in. Candy ended up being that person.
Bob Abrahamian 29:08
And what year did he join the group?
Vernon Lindsey 29:18
I’d say about two years before we recorded that track—so around 1981.
Bob Abrahamian 29:23
That record came out on your own label, Jump Street?
Vernon Lindsey 29:26
Yes, that was our label. We decided to release it ourselves because we realized how much money the labels and publishing houses were making. So we started our own publishing company and label. But even with that, if you didn’t have the right connections or money, the record would only go so far.
Bob Abrahamian 29:59
Did that record get any airplay?
Vernon Lindsey 30:03
Some—not as much as we hoped. But yes, it did get some.
Bob Abrahamian 30:12
And you mentioned earlier that now you're working on re-releasing some of your material?
Vernon Lindsey 30:15
Yes. We have 78 songs in our publishing house. About 16 of them are ready to be put on CD and shipped overseas—to London, Europe, Germany, Canada.
Bob Abrahamian 30:31
You told me that record was recorded earlier but released later?
Vernon Lindsey 30:37
Yes. It was recorded in the ’70s but pressed to vinyl in the late ’80s.
Bob Abrahamian 30:45
How long did the group stay together after that record?
Vernon Lindsey 30:52
We stayed together for about five or six more years. Even after the record, we remained in contact.
Bob Abrahamian 31:02
So you continued performing throughout most of the ’80s?
Vernon Lindsey 31:04
Yes, mainly around Chicago.
Bob Abrahamian 31:06
What was the scene like? A lot of the old clubs had closed by then, right?
Vernon Lindsey 31:10
Yes. But we produced our own shows in large lounges—some could hold 800 or more. That’s how we kept going.
Bob Abrahamian 31:49
But you never recorded anything else after that?
Vernon Lindsey 31:52
Not with the group. But we do have other songs recorded that are now being prepared for release.
Bob Abrahamian 32:00
You also said you were involved with house music?
Vernon Lindsey 32:03
Yes. That was with DJ International Records. Eli and I recorded a song called Sexy Lady that was played in London. It got good airplay.
Bob Abrahamian 32:33
Was that released on vinyl?
Vernon Lindsey 32:35
Yes, under the name Lindsay & Jones.
Bob Abrahamian 32:42
And that was in the mid-’80s?
Vernon Lindsey 32:44
Yes.
Bob Abrahamian 32:55
You also mentioned a solo track?
Vernon Lindsey 32:58
Yes, I have another house-style track called Do Your Own Thing. It’s finished and ready, but I’m taking my time. I don’t chase after anything—I let things unfold.
Bob Abrahamian 33:34
So you’ve evolved from Doo Wop to house. That’s quite a journey.
Vernon Lindsey 33:40
Yes. Back in the day, one record could carry you for life. Now, I can take one tune and rework it into five different versions that all sound different.
Bob Abrahamian 34:00
Did you do any music in the ’90s or 2000s?
Vernon Lindsey 34:06
Not performing, but yes—writing and producing material that’s now getting ready to be released. We’re also working on a book called Episodes of Jump Street, which could even be turned into a movie. So there’s more coming.
Bob Abrahamian 34:32
And what happened to the other members? Are they still making music?
Vernon Lindsey 34:37
Yes. Eli Jones, who’s also my brother-in-law, does gospel now. So does Leslie “Candy” Davis—he even has a CD out. Roland Parker is still in Little Rock, Arkansas. There’s talk of a reunion show—maybe at Park West or another big venue. It’s possible.
Bob Abrahamian 35:26
Well, thanks so much for coming down and telling your story.
Vernon Lindsey 35:30
I appreciate you having me. I’d love to come back and do a follow-up to share what happens next.
Bob Abrahamian 35:37
Do you have any last words for the audience?
Vernon Lindsey 35:40
Yes. If you’re interested, get in touch with WHPK. We have an email you can reach me at.
Bob Abrahamian 35:49
Can you give your email?
Vernon Lindsey 35:57
Sure. The email is lindsaysunday39@yahoo.com — that’s Lindsay Sunday, spelled S-U-N-D-A-Y, 39 @ yahoo.com.
My internet handle is Blackberry.ms.cutiepie@us.failure.com — that’s Blackberry dot M-S dot cutiepie at us dot failure dot com.
Bob Abrahamian 36:39
Okay. Well, thanks again. I appreciate you coming down.
Vernon Lindsey 36:42
Thank you for having me.
