Through her heartfelt stories and recollections, Jan Bradley shares her path from singing in church to recording hits, navigating both personal and professional challenges along the way. Bradley’s journey from Robbins, Illinois, to national recognition provides a glimpse into the 1960s soul music scene and her collaborations with legends like Curtis Mayfield. In this interview, Bradley discusses her early days with The Swinging Hearts, her solo break, and her chart-topping success with “Mama Didn’t Lie”—all while reflecting on the bittersweet transitions that came with fame and her foray into songwriting.
In a warm yet insightful conversation with Bob Abrahamian, Jan Bradley recounts her journey from a gospel-singing girl from Robbins, Illinois, to a nationally recognized soul singer. The interview, conducted on WHPK’s “Sitting in the Park,” captures the evolution of Bradley's career, her collaboration with Curtis Mayfield, and the soulful legacy of her chart-topping track “Mama Didn’t Lie.” Throughout, Bradley’s story is filled with moments of excitement, challenges, and resilience, reflecting her journey through the heyday of 1960s soul music.
Bradley begins by tracing her roots back to Vaiden, Mississippi, where her musical journey started in church—a common starting point for many soul artists. After her family relocated to Robbins, Illinois, Bradley’s deepening connection to gospel music laid a foundation for her soulful voice. By high school, she was performing with a group called The Passions, later renamed The Swinging Hearts. Her time with the group, which mainly performed in local clubs around Robbins, helped her develop her stage presence and vocal skills. These formative years not only ignited her passion but also connected her to the local music scene and the supportive community that first recognized her talent.
The real turning point came when Don Talty, a talent scout, noticed her potential at a talent show in Robbins. Talty, who was known for promoting R&B music despite the racial divide of the era, offered Bradley her first professional opportunity as a solo artist. Talty’s interest in Bradley signified a shift for her from group performances to solo stardom, setting her on the path to her first recording contract and, eventually, collaboration with one of soul’s greats—Curtis Mayfield.
Mayfield’s role in Bradley’s life cannot be overstated. Introduced by Talty, Mayfield saw potential in Bradley’s voice and style and offered her his song “We Girls.” This first recording session, supported by the legendary Riley Hampton, launched her into the limelight, and “We Girls” became Bradley’s first hit under Talty’s Formal Records. The partnership with Mayfield was short-lived due to conflicts between Chess Records, where Bradley recorded, and Mayfield’s publishing rights. Yet, it was during this period that she recorded her signature song, “Mama Didn’t Lie.”
“Mama Didn’t Lie,” recorded in Kirkwood, Missouri, marked a high point in Bradley’s career. Ironically, although it sounded quintessentially Chicago, it was produced outside of Illinois with musicians connected to Ike and Tina Turner’s band. The song’s distinctive sound was enhanced by Bradley’s overdubbed harmonies, an early example of the technique in R&B. Overdubbing allowed her to create a rich, layered sound by harmonizing with herself, a testament to her adaptability and dedication to her craft. The song became a major crossover hit, charting on both R&B and pop lists—a remarkable achievement for an independent artist of her era.
The success of “Mama Didn’t Lie” opened doors for Bradley, leading her to perform in larger theaters, college towns, and even international stages. Notably, she performed in Stockholm, Sweden, which was an unforgettable experience for a young artist from Robbins. Sharing stages with Motown and other major acts in larger venues reflected the song’s broad appeal and Bradley’s growth as a performer. However, as her star rose, she encountered the limitations of being a Black female artist in a male-dominated industry. When Chess Records barred her from recording more of Mayfield’s compositions due to a disagreement over publishing rights, Bradley faced an unexpected hurdle that shaped her career in new ways.
Rather than letting this setback hold her back, Bradley turned to songwriting herself, a move that highlighted her resilience and versatility. She penned “I’m Over You,” a reflective response to the struggles and disappointments in her career. This track, which garnered national airplay, showcased Bradley’s ability to capture emotions with her own words and melodies, proving her talent went beyond singing. Other self-written tracks followed, like “The Brush-Off,” further establishing Bradley as both a singer and a songwriter.
The transition from singing to songwriting marked a significant chapter in Bradley’s career. While her earlier work with Mayfield was rooted in his unique style, Bradley’s own compositions bore her individual voice and perspective. By creating her material, Bradley found a way to express her artistry on her terms, making her a more autonomous artist amid an industry where creative control was rare, especially for female performers.
Reflecting on Bradley’s journey offers a broader perspective on the challenges and triumphs of Black female artists in the 1960s. Her path from church choirs to nationwide fame—and the obstacles she faced in between—illustrates the spirit of an era when soul music not only resonated with audiences but also became a means for artists to navigate and negotiate their identity and independence. Bradley’s resilience, evident in her ability to adapt and thrive despite setbacks, mirrors the tenacity of countless other soul artists whose contributions shaped the genre’s rich history.
Bradley’s story, as narrated in Abrahamian’s interview, encapsulates more than a career in music; it reflects a journey of self-discovery, artistic growth, and perseverance. Her legacy in soul music is not just in the songs she recorded but in the determination with which she carved out a space for her voice and vision, paving the way for future generations of artists to do the same.
Bob Abrahamian 01:56
You're tuned to WHPK 88.5 FM in Chicago. I have a special Sitting in the Park show today. I just played Jan Bradley's Christmas song, "It's Christmas Time," and I have her here in the studio to talk about her music. We'll also be playing her records, so it should be a great show. First of all, thanks so much for coming down to the studio, Jan.
Jan Bradley 02:26
Oh, it's my pleasure.
Bob Abrahamian 02:28
I hope you had a good holiday.
Jan Bradley 02:33
I had wonderful holidays.
Bob Abrahamian 02:35
To start off, I always ask everyone where they're originally from.
Jan Bradley 02:42
Originally? Well, I was born in Vaiden, Mississippi, and my parents migrated here when I was about five. So, we lived in Robbins, Illinois, from that point on.
Bob Abrahamian 02:59
And you stayed in Robbins after that?
Jan Bradley 03:03
Yes, I lived there forever after that.
Bob Abrahamian 03:11
How did you get started singing?
Jan Bradley 03:13
I started by singing in a talent show with a group called The Passions, who later changed their name to The Swinging Hearts.
Bob Abrahamian 03:21
Was that in the '50s?
Jan Bradley 03:22
Yes, the late '50s while I was in high school.
Bob Abrahamian 03:29
What high school did you go to?
Jan Bradley 03:30
I went to Blue Island Community High School, which later became Eisenhower. These guys were older than me, but we all knew each other in Robbins, so they knew I loved to sing in church. The older guys, especially the doo-woppers, were well known. They asked me to sing with them.
Bob Abrahamian 04:00
So, they were in high school while you were there too?
Jan Bradley 04:03
Yes, they were a few grades ahead of me. They knew me from church and approached me about singing with them. So, we started rehearsing, and I really liked it. We ended up doing shows in some local clubs.
Bob Abrahamian 04:37
Do you remember any of the clubs you performed in?
Jan Bradley 04:39
Yes, places like the Apex Lounge and Skin’s Lounge in Robbins, and a few others in nearby towns like Harvey and Dixmoor.
Bob Abrahamian 05:00
Did you ever have any contact with The Dells since they were from Harvey?
Jan Bradley 05:02
No, I didn’t know them personally, but I always loved their music and wanted to meet them. Later, I actually did get to meet them.
Bob Abrahamian 05:10
You originally started singing gospel in church, right?
Jan Bradley 05:15
Yes, like many artists, I started in church. I sang in every choir I could because I loved it. Church was a great place to develop and share my talent.
Bob Abrahamian 05:47
How did you get interested in singing R&B?
Jan Bradley 05:51
It just came naturally from listening to the radio and dreaming. When The Passions asked me to sing with them, we started performing songs we heard on the radio.
Bob Abrahamian 06:15
Who were some of those artists or songs?
Jan Bradley 06:19
Groups like The Spaniels, The El Dorados, Ruth Brown—artists like that.
Bob Abrahamian 06:27
Were you the lead singer in the group?
Jan Bradley 06:33
Yes, I sang mostly lead.
Bob Abrahamian 06:40
So, they changed their name to The Swinging Hearts after you left?
Jan Bradley 06:53
Yes, after I left the group. We did a talent show and caught the attention of a talent scout, Don Talty, who was looking for new talent for his label.
Bob Abrahamian 07:34
Was the talent show in Robbins?
Jan Bradley 07:40
Yes, at one of the schools there, not Eisenhower, which was in Blue Island.
Bob Abrahamian 07:55
And was that in 1959?
Jan Bradley 08:00
Yes, around the late '50s, maybe '59.
Bob Abrahamian 08:09
Did Don Talty want to sign the whole group?
Jan Bradley 08:10
At first, yes, but later they decided they just wanted a female vocalist. Don told me that they wanted me as a solo artist, not the group.
Bob Abrahamian 08:35
So you became his artist?
Jan Bradley 08:38
Yes, even though I didn’t like leaving the guys behind. But it was my big chance, and my parents encouraged me to go for it.
Bob Abrahamian 08:55
Can you tell us more about Don Talty? He had a record label, right?
Jan Bradley 09:01
Yes, he had a label and was looking for new talent. He had some other artists and groups at the time, like The Masqueraders and The Trinidads.
Bob Abrahamian 09:19
He also promoted R&B music, even though he was a white promoter?
Jan Bradley 09:32
Yes, he had a strong love for jazz and R&B, which he focused on for his label.
Bob Abrahamian 10:14
So, after he discovered you, how did you end up recording your first record?
Jan Bradley 10:27
I was still in high school, and my parents insisted I finish school first. I graduated in 1961, and then we started looking for material. I was introduced to Curtis Mayfield at the Regal Theater.
Bob Abrahamian 11:00
Were you with Don at the time?
Jan Bradley 11:07
Yes, Curtis and Jerry Butler were performing, so Don thought it would be a good opportunity to introduce me to Curtis. Curtis was looking for songs for a female singer.
Bob Abrahamian 11:42
Did Curtis make you audition?
Jan Bradley 11:45
In his own way—he would play a little something on his left-handed guitar and ask me to sing it. It was a relaxed process, and he made me feel comfortable.
Bob Abrahamian 12:35
So, did he say right away that he had songs for you?
Jan Bradley 12:42
Yes, he said he had some songs that might suit my voice, so we arranged to meet later. A week or so after that, we met at his house.
Bob Abrahamian 13:31
What happened there?
Jan Bradley 13:36
Curtis played a song called "We Girls" and asked if I liked it. I did, so we worked with an arranger, Riley Hampton, to get it ready for recording.
Bob Abrahamian 15:35
And that record was released in 1962, right?
Jan Bradley 15:52
Yes, on Don’s Formal label. It was my very first record.
Bob Abrahamian 16:02
I’ll play it now, and then we can talk more.
(Plays "We Girls" by Jan Bradley)
Bob Abrahamian 17:52
You’re tuned to WHPK 88.5 FM. That was Jan Bradley with "We Girls," her first record, released in 1962 on Formal Records. It actually became a hit, didn’t it?
Jan Bradley 18:12
Yes, it got a lot of play and was a crossover record, meaning it got played in both pop and R&B markets.
Bob Abrahamian 18:23
And it wasn’t just in Chicago, right?
Jan Bradley 18:39
Yes, it played in the Midwest and probably some other markets too.
Bob Abrahamian 18:49
Did you start performing more after that?
Jan Bradley 18:53
Yes, having a record increased demand. I started performing in Indiana, Michigan, and other places outside of Chicago.
Bob Abrahamian 19:16
Did Don try to place it on a larger label?
Jan Bradley 19:24
Yes, we even went to New York City to try to get a major label deal, but they weren’t interested because I was an African American girl singing about "We Girls."
Bob Abrahamian 20:28
So, it was only after the rejection that he put it out on Formal Records?
Jan Bradley 21:05
Yes. It got local play, then more widespread attention, which eventually led Chess Records to pick it up.
Bob Abrahamian 22:53
So Chess picked it up and distributed it nationally?
Jan Bradley 23:05
Yes. It got even more airplay after Chess picked it up.
Bob Abrahamian 24:10
Did you sign directly with Chess, or just with Don?
Jan Bradley 24:14
I was signed with Don, and he had the agreement with Chess.
Bob Abrahamian 25:42
I'm going to play the record now. This is Jan Bradley with her biggest hit, "Mama Didn't Lie."
(Plays "Mama Didn't Lie" by Jan Bradley)
Bob Abrahamian 27:27
You’re tuned to WHPK 88.5 FM in Chicago. That was Jan Bradley with her biggest hit, "Mama Didn't Lie." Even though it’s got such a Chicago sound, it wasn’t actually recorded in Chicago, right?
Jan Bradley 27:44
No, it wasn’t. It was recorded in Missouri, in Kirkwood at a small studio.
Bob Abrahamian 27:53
How did you end up there?
Jan Bradley 27:54
Don Talty knew some of the musicians who played with Ike and Tina Turner’s band. He was heading down there, so he decided to use a studio in Missouri to record "Mama Didn't Lie." He brought along a couple of musicians from Chicago, including my guitarist Freddie Young and a pianist named Charles McNair. We thought we were just going to do a demo, but it turned out well, so we kept it.
Bob Abrahamian 29:10
That’s interesting. It has a Chicago sound, but it was recorded in Missouri, near St. Louis.
Jan Bradley 29:24
Yes, I think it was Kirkwood, near St. Louis.
Bob Abrahamian 29:27
And it sounds like there are backing vocals on the record, but that’s actually you on overdub, right?
Jan Bradley 29:36
Yes, that’s me singing harmony with myself. We wanted a group to back me up, but we couldn’t find anyone at the time. We tried getting one of the Ikettes from Ike and Tina's band, but it didn’t work out. So I just decided to try doing it myself, and they liked the way it sounded, so we kept it as it was.
Bob Abrahamian 30:52
That was a pretty early example of overdubbing. It worked out well on that track.
Jan Bradley 30:57
Yes, when they played it back, I thought it sounded good. So we left it that way.
Bob Abrahamian 31:07
And that became by far your biggest hit. Did it get play on both pop and R&B charts?
Jan Bradley 31:16
Yes, it went really high on the Billboard charts, hitting top positions on both R&B and pop charts.
Bob Abrahamian 31:32
Did it change the type of venues you were performing in?
Jan Bradley 31:47
Yes, I started performing at bigger theaters and in college towns. We did a lot of shows all over the Midwest, out West, and in the South.
Bob Abrahamian 32:17
Did you perform with any big acts, or were you mainly performing solo?
Jan Bradley 32:23
I performed alongside big acts, especially at the larger theaters. We often shared stages with other Motown acts.
Bob Abrahamian 32:36
So, at that point, were you doing music full-time?
Jan Bradley 32:42
Yes, music was my full-time job then. I was living my dream and doing a lot of touring, which I loved.
Bob Abrahamian 32:48
Was Don still managing you?
Jan Bradley 32:52
Yes, he was. He traveled with me at times, helping me to live out my dream and see places I’d never thought I’d go.
Bob Abrahamian 33:03
Like where?
Jan Bradley 33:07
In the 1960s, I even got to go to Stockholm, Sweden, for a show.
Bob Abrahamian 33:14
Wow, that’s amazing. What was the show in Sweden like?
Jan Bradley 33:17
It was a great experience. I performed "Mama Didn't Lie" and "We Girls." There were other acts, but none from the U.S. that I remember.
Bob Abrahamian 33:32
After "Mama Didn't Lie," you recorded several other songs. It's a bit hard to track the exact order since you were recording with various labels. Do you remember which record came next?
Jan Bradley 33:49
After "Mama Didn't Lie," Chess writers tried to come up with a follow-up. They wrote "You Gave Me What's Missing" and another track called "These Tears." It was tough trying to replicate the success of "Mama Didn't Lie."
Bob Abrahamian 34:21
I think "These Tears" might have been the next release, with "You Gave Me What's Missing" coming later.
Jan Bradley 34:28
Yes, I believe you're right. It's been a while, so it's hard to remember everything.
Bob Abrahamian 34:34
None of those follow-up records had the same success as "Mama Didn't Lie," right?
Jan Bradley 34:51
No, they didn’t reach the same level. I think "I'm Over You" and "The Brush-Off" came after that, and I wrote those myself.
Bob Abrahamian 35:03
Those are both really nice tracks. How did you start writing your own songs?
Jan Bradley 35:14
Well, after "Mama Didn't Lie," I kept asking for more of Curtis Mayfield’s songs, but Chess and Curtis had a disagreement about publishing rights. Curtis wanted to keep control of his work, so Chess said I couldn’t record any more of his songs. That’s when I decided to try writing myself, even though I was disappointed about losing Curtis’s songs.
Bob Abrahamian 36:22
So your first song was "I'm Over You." Was that inspired by your disappointment?
Jan Bradley 36:25
Yes, it was. Writing "I'm Over You" was my way of coming to terms with it.
Bob Abrahamian 36:58
Was "I'm Over You" the first song you wrote that was released?
Jan Bradley 37:09
Yes, it was the first one.
(Plays "I'm Over You" by Jan Bradley)
Bob Abrahamian 39:20
That was Jan Bradley with "I'm Over You," the first song she wrote for herself on Chess Records. So, was that the record that brought you back onto the charts after "Mama Didn't Lie"?
Jan Bradley 39:59
Yes, that song made it onto the national charts and kept me in the public eye.
Bob Abrahamian 40:07
Did it feel good to have success with a song you wrote yourself?
Jan Bradley 40:13
Yes, it did. The other songs had gotten local play, but "I'm Over You" was the first one to chart nationally.
Bob Abrahamian 40:19
Had you ever tried writing before?
Jan Bradley 40:40
Yes, I wrote secretly, just for myself. I didn’t show anyone because I didn’t think it was good enough, but after losing Curtis, I finally showed Don one of my songs.
Bob Abrahamian 41:03
Did you tell him you wanted to write for yourself?
Jan Bradley 41:07
I just showed him the song, and he liked it.
Bob Abrahamian 41:11
The backing vocals on "I'm Over You" sound like a group, but it’s you on overdub again, right?
Jan Bradley 41:16
Yes, that’s just me singing harmony with myself again.
Bob Abrahamian 41:21
I also wanted to ask about another song you did with Curtis, "Behind Curtains," which came out on Night Owl Records. Did that come out before "I'm Over You"?
Jan Bradley 41:41
Yes, it did. That was one of the last songs Curtis wrote for me.
Bob Abrahamian 41:45
So you were still with Chess, but you had to release it on another label because of the issue with Curtis, right?
Jan Bradley 41:50
Yes, that’s right. I don’t know exactly how it was arranged, but it came out on Night Owl.
Bob Abrahamian 42:08
There’s also a backing group on that record. Was that The Impressions?
Jan Bradley 42:21
Yes, that was The Impressions. It was amazing to have them backing me up.
Bob Abrahamian 42:24
That must have been exciting!
Jan Bradley 42:27
Oh, it was! I felt so honored.
Bob Abrahamian 42:32
Where was that label, Night Owl, based?
Jan Bradley 42:36
I honestly don’t know.
Bob Abrahamian 42:39
You also recorded under the name "Jan and Chuck" with a track called "What a Weekend." Was that also released on Night Owl?
Jan Bradley 42:55
Yes, that was originally just supposed to be a demo. I wrote a lot of songs that we would record as demos to hear how they sounded.
Bob Abrahamian 43:28
So, did you know that those songs were released?
Jan Bradley 43:43
No, I didn’t! I was writing with hopes of getting songs to other artists, so it surprised me when I found out they’d been released.
Bob Abrahamian 44:20
What studio would you go to for recording these demos?
Jan Bradley 44:24
Mostly smaller studios around Chicago.
Bob Abrahamian 44:31
And who was "Chuck"? Do you remember?
Jan Bradley 44:33
I think he was a guy from Gary who was trying to get signed with Don Talty.
Bob Abrahamian 44:42
Another song you wrote, "Love is the Answer," was recorded by a rock group called The Chapters. Do you remember how that happened?
Jan Bradley 44:57
I think that was also Don Talty placing one of my songs with another artist. I was constantly writing and hoping that other artists would pick up some of my songs.
Bob Abrahamian 45:19
At the time, you were doing writing on the side while recording for Chess Records. Were most of the Chess records recorded at Chess Studios?
Jan Bradley 45:23
Yes, they were recorded at the old Chess studio.
Bob Abrahamian 45:43
So after "I'm Over You," you released another record called "He'll Wait on Me" and "Just a Summer Memory." Did that get any play?
Jan Bradley 45:55
Yes, "Just a Summer Memory" got some play, mostly in the Midwest.
Bob Abrahamian 46:01
What was your next bigger record after that? Was it "It's Just Your Way"?
Jan Bradley 46:06
Yes, I think you're right. That was another song I wrote.
Bob Abrahamian 46:13
What year was that? Was it in the late '60s by then?
Jan Bradley 46:17
Yes, it was around the late '60s.
Bob Abrahamian 46:20
Alright, let me play that one. This is Jan Bradley with "It's Just Your Way."
(Plays "It's Just Your Way" by Jan Bradley)
Bob Abrahamian 49:01
That was Jan Bradley with "It's Just Your Way." By that time, you'd been with Chess Records for quite a while, almost seven years. Did you ever do shows with other Chess artists?
Jan Bradley 49:44
Not a lot, no.
Bob Abrahamian 49:47
But were you still touring a lot throughout the '60s?
Jan Bradley 49:55
Yes, I did. I performed up and down the East Coast on American Bandstand-type shows, as well as local TV shows in places like Chicago, Cleveland, Baltimore, and Boston.
Bob Abrahamian 50:27
Did your records typically get play on both the pop and R&B charts?
Jan Bradley 50:37
Mostly R&B. The crossover records, like "Mama Didn't Lie" and "We Girls," got play on both, but the rest were more R&B-focused.
Bob Abrahamian 50:59
You had that crossover potential with your voice and sound. Did you ever consider signing with Motown?
Jan Bradley 51:17
Yes, Don Talty and I actually went to Motown, but they already had artists like Mary Wells and The Supremes, so they didn’t need another Jan Bradley.
Bob Abrahamian 51:41
I can see how Mary Wells would fill that role at Motown.
Jan Bradley 51:44
Exactly. But I was grateful Chess wanted a Jan Bradley.
Bob Abrahamian 51:53
Chess kept your Chicago sound, which would’ve been different if you were with Motown. I think Chess released one more record after "It's Just Your Way." It was "You Gave Me What's Missing" and "Nights in New York City," right?
Jan Bradley 52:13
Yes, you’re right. Those songs were written by Chess writers, and that was our last attempt to get another hit.
Bob Abrahamian 52:33
Those came out around 1970, correct?
Jan Bradley 52:37
Yes, I believe so. That was my last recording with Chess and pretty much with any label.
Bob Abrahamian 52:45
You also did another record called "Back in Circulation," which came out on a couple of labels. Was that in the '60s?
Jan Bradley 52:58
Yes, that was also in the '60s. I was still writing, doing demos, and trying to get my songs recorded by other artists. I wanted to be a singer-songwriter.
Bob Abrahamian 53:24
Were you inspired by Curtis Mayfield to write?
Jan Bradley 53:27
Yes, he did inspire me. I always loved poetry, so writing lyrics came naturally. I used to ask Curtis how he came up with his songs, and he’d say it just came to him. For me, the music and lyrics often came at the same time.
Bob Abrahamian 54:05
Did you have formal music training, or could you read music?
Jan Bradley 54:09
I could read some music. I had a little formal training when I was very young, but I wasn’t an expert.
Bob Abrahamian 54:24
Who played guitar on "It's Just Your Way"? It has a really nice guitar sound.
Jan Bradley 54:35
That was Kermit Chandler, a fantastic left-handed guitar player from Chicago. He had the Curtis Mayfield sound that we were looking for.
Bob Abrahamian 54:46
Did you bring him to Chess, or how did that happen?
Jan Bradley 54:57
Don Talty introduced us, and we knew we wanted Kermit's sound on that song. He brought just the right flavor to it.
Bob Abrahamian 55:18
You mentioned earlier that you wanted to write for other artists. A few of your songs actually did get recorded by other people. We talked about that rock group, The Chapters. How did they come across your song?
Jan Bradley 55:39
I met The Chapters, who were from Ohio. They liked some of my songs, and they ended up recording one of them.
Bob Abrahamian 55:45
There was also a white female singer named Peppi who recorded your song "Hypnotize" on an Ohio label called Prism. Do you remember her?
Jan Bradley 56:06
Yes, I remember her.
Bob Abrahamian 56:10
There was another artist named Paulette who recorded one of your songs, and I think she was from Chicago?
Jan Bradley 56:18
Yes, Paulette was a Chicago girl. I remember her well.
Bob Abrahamian 56:24
Do you remember how those records ended up on an Ohio label?
Jan Bradley 56:27
Again, it was part of my attempts to get my songs out there. I would show my songs to other artists and hope they’d record them.
Bob Abrahamian 56:46
And one song you wrote, "I'm No Romeo," was recorded by Billy Stewart. Did he approach you about recording that?
Jan Bradley 57:15
Yes, that song was on his album. I was thrilled he recorded it.
Bob Abrahamian 57:24
Did you place that song through Don, or was it through someone else?
Jan Bradley 57:28
Yes, Don placed it through his connections with Chess.
Bob Abrahamian 57:52
One more record I have of yours is "I Kind of See the Light" and "Tricks of the Trade." Did that come out after Chess?
Jan Bradley 58:00
Yes, that came out after my time with Chess. It was an attempt to get back into the market.
Bob Abrahamian 58:13
Was that in the early '70s?
Jan Bradley 58:23
Yes, it was in the '70s. A friend of mine from Nashville, Bob Hall, suggested we record it, so I went down there and cut those two tracks.
Bob Abrahamian 58:43
Did you record only those two songs?
Jan Bradley 58:49
Yes, just those two.
Bob Abrahamian 58:52
Did he promote the record at all?
Jan Bradley 58:59
Not really. It was a new label just getting started, so it didn’t get much promotion. I did it more for fun than anything else.
Bob Abrahamian 59:09
When did you decide to leave Chess Records? Why did you make that decision?
Jan Bradley 59:25
It wasn’t really my choice. My career wasn’t progressing the way I’d hoped. I was interested in doing other things, so I decided to pursue new opportunities. I knew there was more to me than just music.
Bob Abrahamian 59:47
Did you explore other creative interests, like acting?
Jan Bradley 59:53
Not acting. Instead, I went back to school to finish my education.
Bob Abrahamian 1:00:02
Did you earn a degree?
Jan Bradley 1:00:09
Yes, I earned a master’s degree in counseling. That’s what I do now.
Bob Abrahamian 1:00:12
Did you go back to school after recording "I Kind of See the Light," or was that before?
Jan Bradley 1:00:22
I think I was already in school at that point.
Bob Abrahamian 1:00:43
So, you finished your counseling degree in the '70s?
Jan Bradley 1:00:55
Yes, I did.
Bob Abrahamian 1:01:09
Let me play another record as we talk a little more. Here’s the track you recorded with The Impressions, "Behind Curtains."
(Plays "Behind Curtains" by Jan Bradley with The Impressions)
Bob Abrahamian 1:03:27
That was Jan Bradley backed by The Impressions with "Behind Curtains." While you were on Chess, Curtis re-recorded that song with The Five Stairsteps later, didn’t he?
Jan Bradley 1:03:45
Yes, he did, but I think my version came out first.
Bob Abrahamian 1:04:26
And Curtis also redid "Mama Didn't Lie" with a group called The Fascinations. Did you know about that?
Jan Bradley 1:04:44
I heard about it afterward, but all the trade magazines said my version was the real hit.
Bob Abrahamian 1:05:09
And it definitely was. Your version got all the promotion and airplay.
Jan Bradley 1:05:26
Yes, it did.
Bob Abrahamian 1:05:45
So, you moved into counseling after your music career. Have you done any music since then?
Jan Bradley 1:05:53
Mostly just in church. I sing in the church choir, do lead vocals, and write for my own enjoyment. I still write songs but haven’t released anything in a while.
Bob Abrahamian 1:06:11
Do you have a setup where you can record your music?
Jan Bradley 1:06:18
My son has a small studio, so sometimes we’ll record demos for fun.
Bob Abrahamian 1:06:29
I hope you keep writing. You created some beautiful songs.
Jan Bradley 1:06:34
Thank you! I’d love to do something just for fun.
Bob Abrahamian 1:06:39
And you’re still working full-time as a counselor?
Jan Bradley 1:06:42
Yes, I work with people who are going through difficult times. It’s very rewarding, and I feel it’s my life’s work now.
Bob Abrahamian 1:06:52
I’m glad you found such a fulfilling career.
Jan Bradley 1:06:56
Yes, it’s incredibly rewarding.
Bob Abrahamian 1:07:01
Thank you so much for coming in and sharing your story. I really appreciate it.
Jan Bradley 1:07:04
It’s been a pleasure. It’s so nice meeting you and talking about those days. You’re such a fan of that music era, and I’m happy to see someone who truly appreciates it.
Bob Abrahamian 1:07:18
A lot of people love your records, Jan. That Chicago sound from the '60s and '70s is something people still appreciate today.
Jan Bradley 1:07:29
I’m so glad to hear that.
Bob Abrahamian 1:07:33
Any last words for our listeners?
Jan Bradley 1:07:35
Just do what you love, find your passion, and remember that you have more than one dimension to yourself.
Bob Abrahamian 1:08:01
Great advice. Thank you again, Jan, for joining us.
(Plays "Back in Circulation" by Jan Bradley)
