The Nelsons' father was a minister and they developed their singing skills in his church. Their first studio work as unbilled session singers on vocalist Ernestine Eady's 'The Change', brought them to the attention of producer Jerry Ross who signed the trio to the R&L record label in 1963.
Though a stellar effort, Candy and the Kisses' initial release, 'A Good Cry', failed to chart and the threesome slipped back into the shadows of no-hit-wonders until two enterprising Philadelphians, Kenny Gamble and Leon Huff, brought the group to Philadelphia's Cameo Records.
Gamble and Huff, hoping to cash in on a new dance craze (there seemed to be one just about every five minutes in the early '60s), spawned by a Martha and the Vandellas recording called 'In My Lonely Room', quickly penned a lively, bombastic song, 'The 81' (the inexplicable name of the new dance). Candy and the Kisses emerged from the Cameo Records studio with a two-minute, 33-second gem which they simply hoped would be a hit. Little did they know they had just laid down a dance classic that would be remembered over forty years later.
'The 81' opens with a rapid, two-chord plinkety-stringed guitar riff, immediately followed by an engaging cacophony of booming horns and driving drums which borrow, merge and transform the beginning of the Martha and the Vandellas tunes 'In My Lonely Room' and 'Heat Wave'. Pure Motown sound all the way, even down to Candy's powerhouse, Reeves-ringer lead vocal ("There's a new dance goin' around they call 'the 81'") which led many to assume it actually was Martha Reeves.
The sound pouring from radios and turntables coast-to-coast was an innocently infectious brand of dance-line spontaneity that made it almost impossible for a listener not to take to the floor. What Candy and the Kisses achieved under the tutelage of Gamble and Huff was an effect which equalled Motown's most danceable recordings, including the dynamism of the blockbuster hit 'Dancing in the Streets'.
Failing to recreate the success of 'The 81' with either their next recording, 'Soldier Baby (of Mine)' - a cover of an unreleased Ronettes' song - or 'Shakin' Time' (recorded live in concert), the group attempted to score under the alias of Honey Love & the Love Notes (releasing 'We Belong Together' c/w Mary Ann). Disappointed, Candy & the Kisses left the Cameo label, spirited away by Scepter Records producer Florence Greenberg (who had achieved mega-success with top female act the Shirelles). They signed with Scepter Records in 1965 and were assigned to the writing team of Josephine (Joshie) Armstead (a former member of the Ikettes), Valerie Simpson and Nicholas Ashford, who supplied Candy & the Kisses with enough material to fill an album; however the group failed to recreate the magic of 'The 81'. Excellent material like 'Keep on Searchin'', 'Sweet and Lovely', 'Out in the Streets Again', 'I'll Settle for You', 'Mr Creator' and 'Are You Trying to Get Rid of Me Baby' failed to chart. Even a remake of the Shirelles' 1960 hit 'Tonight's the Night' and 'You Did the Best You Could' misfired.
The group continued on until 1969, recording pure soul, such as 'If You Love Him' c/w 'Oh No, Oh No' under the name 'Sweet Love'.
When the final Candy and the Kisses recording (Decca Records) - Chains of Love c/w 'Someone Out There' failed to make an impact, Candy retired. Suzanne, Jeanette and new lead Beryl Martin tried again as Sweet Soul on Mercury Records in 1969. Their only single 'Oh No, Oh No' c/w 'If You Love Him' didn't win, place, or show, and they disbanded.
Though Candy & the Kisses will go down as a footnote in the Billboard charts of the 1960s, 'The 81', which scores a 100+ aesthetically, ensconces them as major contributors to the evolution of pop, soul and dance for time and eternity.