The Tyrods formed in high school in Chino, California in 1965. Chino is in San Bernadino County, just east of Los Angeles.
Members were:
Herkie Alves – guitar John Alves – guitar Alex Kizanis – keyboards Tim Thomas – bass Jerry Sagouspe – drums
Winning a battle of the bands at the Hollywood Palladium in 1967, earned them recording time to produce a single on Mark Records MR-202.
Brothers John and Herkie Alves wrote both sides of the single. “She Said, He Said” has lyrics worth puzzling out:
She said he said it’s all wrong, But I don’t believe her at all. She said he said it’s all wrong But I said …. (?)
She says that I look like I’m dead, ’cause I never smile any more. I say that I can’t …. (?) There’s so many things in my head.
There’s so many things in my head. Everything around I can’t see. Head’s to the sky, Eyes to the floor.
(?) …. all that riches and fame.
“Girl Don’t Know” includes harmonies that the group would develop in their later recordings.
Sunrays, Renegades and Tyrods at the D.E.S. Ballroom in Chino, February 25, 1966
About the beginning of 1969 the band made a second single, “Hey Girl” / “In a Garden” this time on Flick City. The label changed the band’s name on the single to the Young Californians, but for live shows they continued to use the Tyrods name, as seen on posters opening for the Strawberry Alarm Clock, Giant Crab, and the Sunrays.
Once again Herkie and John Alves wrote both songs. Released in February, 1969 on Flick City FC-3006, the record did not hit, despite a very favorable review from Cash Box on February 22. The band had developed their sound, and both sides are well-made songs.
Adam Sean Music, BMI published both songs. The brothers registered another song with Adam Sean Music in November, 1968, “Everyone Loves a Sunday Morning”, which has not been released to my knowledge.
The litigious side of the record businessDavid Rolnick owned both Adam Sean Music and Flick City, as well as Take 6, which was known for packaging hits into albums for local radio stations. In 1967, Take 6 had a number of interesting releases by the Nervous Breakdown (Rusty Evans), the Giant Sunflower and others. Rolnick may have started Flick City to distinguish original releases from the repackaged Take 6 product.
A Billboard article from April 1969, shows Rolnick being sued for over $47,700 by Rainbo Record Manufacturing.
I’ve seen mention that Creed Bratton, guitarist with the Grass Roots, was in this group, but I believe that must have been a different Young Californians.
The Tyrods Band opening for the Strawberry Alarm Clock and Giant Crab at Espris Car Club New Years Dance at the Des Hall, December 28, 1968
In 1969 they had their last single, this time as Buffalo Nickel on Dome Records 507. The sound is even more polished than the Young Californians single, but this time they didn’t use their original songs.
Tony Powers and George Fischoff wrote “Hard to Be Without You”, and this may be the original version, as copyright registration shows February 1969. The more well-known versions are by the Book of Matches on Bell in June, 1969, and by Joey Powers Flower on RCA in December.
Jack Nitzsche and Greg Dempsey wrote “I Could Be So Good to You”, which was originally done (I think) by Don & the Goodtimes in 1967. Don McGinnis arranged the songs and Kingstreet Productions has a credit on the label.
I believe the group broke up shortly after this release.
Jerry Sagouspe would join Merrell Fankhauser, appearing on a number of albums beginning in the 1990s.
There was a Johnny Alves who was in Manuel & the Renegades with Manuel Rodriguez, Corky Ballinger, Roger Anderson and Mike Le Doux but I don’t believe this is the same person as the John Alves in the Tyrods.
Info & images on the group forwarded to me, originally from Jerry Sagouspe.
Info on Take 6 from Billboard and also Lisa Wheeler’s Radio Use Only.
The Baby Cakes, July, 1965. From left: Don Lupo, Chuck Bakondi, Pat Russell and Tommy Hill
The Baby Cakes were a legendary Austin band that lasted from 1965 until August, 1967. The Baby Cakes never recorded under that name, but they may have been the first Austin group with long hair, they won the first Aqua Festival Battle of the Bands, and they were a big influence on later groups. Two of their members would go on to form the Lavender Hill Express.
John Schwertner of the Reasons Why told Not Fade Away about the Baby Cakes:
We had always looked up to them ’cause they were the first band I remember to play English style rock and roll. A real scruffy looking band, sort of the Texas Rolling Stones I guess. They helped us get some bookings and they’d come to our shows and tell us how to improve our band, really helped us alot.
Early lineups included:
Chuck Bakondi – vocals Leonard Arnold – lead guitar Tommy Hill – rhythm guitar, 12-string guitar Don Lupo – bass Pat Russell – drums
At some point Layton DePenning joined on guitar and vocals.
After drawing crowds of University of Texas students to their rehearsal space, a woman named Paula started booking the group for parties. Michael Lucas would become their promotions and business manager.
The Austin Daily Texan ran a feature on the group on July 27, 1965:
Austin Goes Liverpool Or, Little Church by the Drag: What Gives?
There’s a new beat in Austin … you can hear it resounding from the basement windows of the Congregational Church almost any week night. Call it the West 23rd Street sound — that’s where the “Baby Cakes” hang out.
Practicing in a church basement is probably a unique idea for a rock-and-roll group. But Pat Russell, the Baby Cakes’ drummer, lives there. An English major at the University, Pat hopes to be a Congregational minister …
The group has been together about a month and a half under the name of the “Baby Cakes.” The first members were Pat Russell, Don Lupo on bass, and Leonard Arnold, lead guitar player.
Chuck Bakondi of the Baby Cakes at the Union, September 1965
Then they met Dave Biondi a former KNOW disc jockey. Dave is from Phoenix, Ariz. and had managed a group there. Deciding that the “Baby Cakes” needed a singer, Dave wrote Chuck Bakondi in Phoenix. Along with Tommy Hill, rhythm guitar player, the group was complete …
Sometimes it’s difficult to get together since Don is in the Air Force and stationed at Bergstrom, Leonard is presently going to school in Kingsville and has to commute …
Chuck is the Englishman (sans accent) of the group, complete to his hairstyle and boots. Pat, with his fantastic red hair and beard, looks like a musician, but hardly a potential minister. don, Tommy, and Leonard just look like they enjoy music. Seeing them blast out lines from “Satisfaction” and “For Your Love” you can tell.
The average age of the group is 20. But as Pat put it – “we’re all teenagers at heart.”
Performing on the job, the Baby Cakes wear Beatle boots, black shirts, gold jackets and white lace shirts. They play for about $120 a night.
“We’re expecting a baby organ,” said Pat. The group wants a baby organist and a guitar player to substitute for Leonard on week nights.
Dave got the idea for the group’s name from an old DJ friend of his in Phoenix – broadcasting over the radio he would often say – “what’s happening, Baby Cake?”
The Austin American wrote on July 29, 1965:
“‘Way Outers’ ‘Baby Cakes’ Booked for City Teen Dance”
The Baby Cakes – a newly organized rock-and-roll group of the “way out” variety – will provide half the dance music Friday night at the Parks and Recreation Department’s first annual City-Wide Teen Dance in the City Coliseum …
The second band scheduled for the evening is the popular Imperials group led by Frank Nunez and featuring vocalist Little Joe Castillo. The Imperials are known for their vibrant pop-Latin style and their recordings on the Valmon label …
A special guest appearance by the Petites – sisters Suzanne and Janice Dillingham of Brownwood – will be another highlight …
The Petites recorded the recent “Baby Blue Mustangs” hit for Troy Records, and have another current poll climber – “Baby Heartbreak”.
Frank Nuñez and the Imperials made eight Spanish-language singles for Valmon. I’ve heard an early version of the Baby Cakes backed Ronnie Cells on a single for Valmon: “My Love Is Haunted” / “Chicken” as Ronnie Cells and His Continentals on Valmon VN-1-067, issued circa May 1965.
Ronnie Cells had been performing in Austin since 1967, and used the Continentals name for his backing band from 1962 until 1970, when he changed to Ronnie Cells and the Fidels! Members of the Baby Cakes may have been part of the Continentals for a time, but if so, they struck out on their own by summer of ’65, even as Ronnie continued with a group called the Continentals for years to come.
The Austin Statesman reported on September 8, 1965:
KHFI cameras and tape recorders will be on the prowl this weekend to pick up the sounds at local fraternity houses. The taping, headed by Mike Ginn, is in preparation for a special program called Talent in Central Texas to be aired probably the following weekend.
Local Rock ‘n’ roll groups scheduled for recording include The Babycakes … a college group known as the Cavaliers, and a high school group called the Pack.
The Austin American on December 16, 1965 names their early manager: “Booked Friday at the Circleville Hoedown Club in Taylor – the Baby Cakes, a popular Austin rock band. Manager Leroy Ponkoney says the band returns by ‘popular demand'”.
Tower Fund benefit with bands including the Baby Cakes and the Wig.Wow! April 14, 1967: Baby Cakes with the Playboys of Edinburg, 13th Floor Elevators, Zakary Thaks, Chevelle V and Chandells for the All-night Round Up Party at the City Coliseum
On March 4, 1966, the Austin American wrote:
New feature at the Jade Room on Tuesday and Wednesdays is a big dance contest. With the Baby Cakes supplying the music, couples vie for free movie passes and record albums. This week, KNOW program director, Chuck Boyle, who also manages the Baby Cakes, was on hand along with staffer Richard Moore to judge the event. When asked how he managed to pick his winners from all the high-stepping young girls on the dance floor, Doyle confessed: “I watch the boys.” Oh well, to each his own, Chuck.
In August, 1966, the Baby Cakes participated in a benefit for the Tower Fund, to aid families of the victims of the University of Texas tower sniper. KNOW DJs hosted the event, and other bands included the Wig, the Mustangs, the Zakary Thaks and the Reasons Why.
The Austin American reported on August 4, 1966 “they are scheduled to being a European tour this fall, and are now negotiating the release of a new recording.
1967 photo of the Baby Cakes, a few months before their split
The Austin American on April 6, 1967 reported:
The Baby Cakes … will be back in town to perform (along with The Wig) outside the Paramount Theater Wednesday night for the world premier of “Good Times” …
And starting Thursday night, the group will be appearing weekly at the New Orleans Club. Lately, however, the Baby Cakes have been all over the place – at Texas Tech in Lubbock, at clubs in Dallas and Abilene, at the Catacombs in Houston … in Corpus Christi and at Texas A&I College in Kingsville. They’ll also be sharing the bill with the Playboys of Edinburgh at a Friday night bash in City Coliseum.
The last notice I can find for the Baby Cakes is from August 2, 1967, and ad stating they would be playing at Ozone Forest on 3405 Guadalupe “each and every Wed.”
On September 3, 1967, the Austin American announced a September 9 benefit for KMFA-FM, Austin’s classical music station … “making its debut will be South Canadian Overflow with former Wig [sic] Chuck Bakondi, Baby Cakes ex [sic] Johnny Richardson, and former Reasons Why John Inman, Tommy Langford and Dennie Dolan.”
At some point in 1967, Leonard Arnold and Layton DePenning formed the Lavender Hill Express with John Schwertner of the Reasons Why and two members from the Wig, Jess Yaryan and Rusty Weir. Baby Cakes manager Michael Lucas would continue with the Lavender Hill Express.
The first Lavender Hill Express notice I’ve found is from the Jade Room on November 7, 1967.
Don Lupo would go on to play with the Georgetown Medical Band, Liquid Glass with Bill Campbell and Virgil Harris (lamingo Lounge at 3709 Lake Austin Blvd on April 1, 1968) and other groups before moving to Tucson in 1971 and continuing in music.
Tommy Hill moved to Nashville but returned to Austin to form Tommy Hill and the Country Music Revue (also covered on Sonobeat).
1st notice I can find for the Baby Cakes, with the Outcasts and the Greenmen, KNOW show at the Municipal Auditorium, July 9, 1965
Partial list of live shows:
1965:
July 9: KNOW show with the Outcasts of San Antonio, and the Greenmen at the Municipal Auditorium.
July 18: Cimmaron at 4900 S. Congress
July 30: City-Wide Teen Dance at City Coliseum with the Imperials
August 10: Austin Aqua Festival Battle-of-the-bands with Rob London & the Rogues, the Outcasts, the Emerals, the Pack and the Spades.
September 19: Union Week Ice Cream social
November 6: The Adolphus Hotel in Dallas for a North Texas State College fraternity party
December 18: TCU Fraternity party at the Hotel Texas in Fort Worth
Baby Cakes play the Bat Dance, March 12, 1966February 22, 1966: The Baby Cakes at the Jade Room, while upstarts Roky and the 13th Floor Elevators are at the New Orleans Club
1966:
January 16: The Circleville Hoedown Night Club
January 22: Austin High School senior party at A.L.A. Hall
March 6: opening for Sonny & Cher, with the Outcasts and Scotty McKay, at the Municipal Auditorium
March 12: “Bat Dance” at the Municipal Auditorium
March 14: at the New Orleans Club
March 19: Gunsmoke a Go-Go at ALA Hall March 20: Austin Livestock Show
April 7: at the New Orleans Club
April 27: at the New Orleans Club
April 29: Club Westerner Teenage Dance, Victoria, TX
May 5: at the New Orleans Club
June 1: at the New Orleans Club June 1: with the Nomads at a midnight screening of Hold On!
June 10: Club Westerner Teenage Dance, Victoria, TX
June 19: Swinger’s Club Sunday Jam Session
June 29: Swinger’s Club
July 6: The Swingers Club “with go-go girls Leslie and Maggie”
July 18: Club Westerner, Victoria
August 4: Starlight Revue series at Zilker Hillside Theater
August 11: Austin Aqua Festival at the Municipal Auditorium: “Last year’s winner, ‘The Babycakes,’ will be back this year as the house band hosting the visiting bands.”
August 19: The Circleville Hoedown Nite Club in Rockdale, followed by Ronnie and the Farrells the next night
The Swingers Club, after Leo & the Prophets, October 1966
October 7: The Swingers Club
October 24: Texas Federation of the Blind variety show in Town Hall at Hancock Center
October 30: Lanier High gym
November 12: The Same Place (managed by Burt Womack)
December 30: The Swingers Club
Baby Cakes and the Wig opening the premier of Sonny & Cher’s “Good Times” at the Paramount, April 12, 1967
1967:
At the Carousel on May 11, 1967 preceded on May 7 by the Zulus, the Second Story and the Grim ReapersFebruary 10: Rockdale Teen Club (American Legion Hall)
April 7: at the New Orleans Club
April 12: Baby Cakes and the Wig at the premier of Sonny & Cher’s “Good Times” at the Paramount. April 13: at the New Orleans Club April 14: Baby Cakes with the Playboys of Edinburg, 13th Floor Elevators, Zakary Thaks, Chevelle V and Chandells for the All-night Round Up Party at the City Coliseum
April 27: at the New Orleans Club
May 4: at the New Orleans Club
May 11 and 12: The Carousel, Corpus Christi
May 19: Richard King High School senior dance at the Corpus Christi Country Club with Kit and the Outlaws
June 6-11: The Pusi-Kat, San Antonio, with Joe Thomas
June 17: at the New Orleans Club
July 2: The Dunes, Port Aransas
July 5: at the New Orleans Club
July 18-23: The Pusi-Kat, San Antonio
August 2: at the Ozone Forest on 3405 Guadalupe “each and every Wed.”
August 9: at the Ozone Forest
One of their last advertized shows, at Ozone Forest, Wednesday, August 9, 1967
The Carousel recorded in Birmingham, Alabama in 1969. Members were:
Carl Williams – lead vocals Richard Studdard – vocals, keyboards Ronald Naramore – vocals, guitar Donny Grace – vocals, bass Mike Patton – vocals, drums
“Girl Maybe You” and “Gonna Hide My Face” are fast-paced pop originals by Donny Grace. Bob Grove and Unity produced for It’s a Lemon 1002.
Bob Grove ran Prestige Recording Studio in Birmingham, where he had recorded artists for his own Unity Record Company label with its beautiful logo of black and white fists with a dove.
I know of two releases on Unity, Candy Stanton’s “Now You’ve Got the Upper Hand” / “You Can’t Stop Me” (both written by Bo Fowler and produced by Bob Grove and Richard Dingler), and Underground Euphoria featuring Keisa Brown “What Can I Do About You” / “Let’s Go Back (To Our Little World)”.
The Carousel single came a couple years after these. I assume it was also recorded at Prestige. The Carousel 45 was preceded on the It’s a Lemon label by a hard rock single by The Brood “Virginia Neal” / “The Roach”. The Brood was Dale Aston of the Torquays along with Steve Salord, George Landman and Bobby Marlin.
I suppose there’s another release on It’s a Lemon between the Brood and the Carousel, but so far I haven’t found it.
Anyone have a copy of the It’s a Lemon singles, or a photo of The Brood?
Dueces Wild featured in the Amarillo Sunday News-Globe on May 28, 1967
The Deuces Wild formed in high school in Amarillo, Texas in 1965. They continued at least through 1967 and cut one 45 on their own Deuce Records label, “Hey Little One” / “Come Easy Go”.
Members were:
Mark Fenlaw – lead vocals Freddy Johnson – bass and vocals Donnie Rae – lead guitar Mark Hart – rhythm guitar Tommy Pena – organ Bill Hegedus – drums
AY a Go Go: DJ Rick West emceed, and local youngsters were featured in fashion photos by Lonnie Sutherland. Models included Malee Miller, Sally Lewis, Suzanne Thompson, Dennis Coyne, Jane Pangburn, Lynn Hagemeier, David Spooner, Melissa Cox and Susan Elliott.
First mention I can find for the band comes from August 12, 1965, announcing their participation in the Allied Youth’s AY a Go Go at the Amarillo Little Theatre, along with the Illusions, the Windthieves, the Others and the Echoes. I haven’t heard of these other bands.
The group’s ages ranged from 16 to 20 at the time of their 45 release. “Hey Little One” is the Dorsey Burnette song. Freddy Johnson wrote and sang the B-side, “Come Easy Go”. The songs were recorded at Larry Cox Studio on N.E. 24th Street, formerly Ray Ruff’s Checkmate Studio.
On May 28, 1967, the Amarillo Sunday News-Globe ran a feature on the band by Gloria Denko:
Rock ‘n’ Roll Band Cuts First Record
The Deuces Wild started about 2 1/2 years ago …
This week the group joined the ranks of performers on record. Their first release, “Hey, Little One,” on Era, with Mark Hart on the vocal, was produced and reocrded by Larry Cox Recorders, 3412 NE 24th, and hit the airways at KGNC, KPUR, KIXZ and other Panhandle radio stations.
“Come, Easy Go” on the flip side, with Freddie Johnson on the vocal, is an original by Johnson. He wrote the ballad, his first, about two years ago and since has written about 15 others. Johnson said about a third of his songs are ballads and the rest are rock ‘n’ roll.
The Deuces Wild count their appearance following Paul Revere and the Raiders at an all-city dance last fall as the high point of their career to date…
Bobby Harper, the buyer at Cooper & Melin, has been their manager for the past year …
They have performed … at Amarillo Air Force Base, for groups in Hereford, Spearman, Dumas and Vega, as well as in Amarillo.
The Dueces Wild had a stage show that included black light, a siren-whistle, flashing lights in time with music and a strobe.
The Wild Prophets came from Ames, Iowa, about 35 miles north of Des Moines. They recorded one single on Kustom Records, Ltd ARS-1001, an energetic version of the Last Word’s “Can’t Stop Loving You” backed with “Do I Have to Come Right Out and Say It”, a Neil Young original with the Buffalo Springfield.
The lineup at the time of the record was:
Ted Nunemaker – vocals Keane Bonath – sax Ken Wood – guitar Roy Aasen – keyboard Larry Kelley – bass and vocals Andy Gielbelstein – drums
Mark Miller signed the label of the record, but he replaced Ken Wood on guitar after the record was made.
Earlier members included Jacque Furman and Ralph Stevens on drums, Ray West on keys.
Later members included Ron Arends on keys and Scott Erickson.
Larry Kelly wrote to me:
I had a few groups in high school. My first band I joined was the Mystics – the first combo at Boone High School. I left that group and started my own band called the Tel-Stars. In ’65 I left that band and got married.
In ’66 I started organizing a new band and we came up with the name The Wild Prophets – Ken Wood, Ray West, Jacque Furman and I. We did things like play guitar/bass behind our heads, lay down on the floor playing, etc. That’s where the ‘wild’ came from in the name. We went thru various other musicians when Ray left. Jacque left and Ralph Stevens played drums. He left in time and Andy took over. When Andy left, Randy Stultz took over on drums.
The recording came about with Ken, Keane Bonath, Ted Nunemaker (both Keane and Ted were ISU students at the time), Andy on drums, and Roy Aaesen played keys. We found the two songs we wanted to do and Ted sang lead on the slow song, me on “Can’t Stop Loving You” which was a Buffalo Springfield flip-side song from their hit, “For What It’s Worth”. But “Can’t Stop” was too slow so we sped it up a bit!
We had a school bus we fixed up to travel in along with the name of the band on each side in big letters. In ’69, we bought over $10,000 worth of new band equipment which today would be more like $80-100k. So many stories, too numerous to tell.
The Wild Prophets recorded at Audiosonic Recording Studio in Ames, and the record saw release in 1969.
According to the informative Boone Rock website, the band played “in Mason City. The Cellar in Ames was a favorite with a good crowd in attendance every time. Other venues they performed at include the Starlite in Carroll, the Pla-Mor in Fort Dodge, the Dance-Mor in Swisher, RJ’s Lounge in Marion.”
The Wild Prophets broke up in 1973. Jacque Furman continued in music, but I have few details other than playing with Cris Williamson and Glen Yarborough.
Ted Nunemaker died on Dec. 14, 2008.
Thank you to Larry Kelley for correcting the spelling of names.
Some information from http://members.iowatelecom.net/thx1136/pages/prophets.html (currently offline).
I can find a few other Audiosonic Recording Studio credits, such as:
Ted Hart – “Down in the Mine” / “I Don’t Need You Anymore” (both by Don Taft and J.T. Schreiner), produced by J.T. Schreiner on Leslie LR 72068 from 1968.
Syndrum of Soul - “Lost and Found” (Gary French, Floyd Brown) / “Do You Care” on SOS 100, produced by M. Harper, from 1970.
The Coachmen, from left: Sam Brough, Glen Cammack, Tommy Burnett (sitting) and Rick Allen, “backstage at the Mid-South Coliseum after a Sam the Sham & the Pharoahs gig.” Photo from Ron Hall’s essential “The Memphis Garage Rock Yearbook 1960-1975”
The Coachmen are not well-remembered now, but were a significant band in Memphis in 1965. They played at the premier of Help at the Loews Palace Theatre with the WMPS Good Guys. They had one single on Gold Standard 155, “I’ll Never Leave You” / “Possibility”.
Members were:
Tommy Burnett – vocals Sam Brough Glen Cammack Rick Allen
“I’ll Never Leave You” is good upbeat pop. Copyright registration from August, 1965 shows Larry Hill and Rusty Taylor (as Roland Parker Taylor) as co-writers. Rusty Taylor was vocalist with the Yo-Yo’s (the Swingin’ Yo-Yo’s) and later had two solo singles on the M.O.C. label. The Coachmen single preceded the Yo-Yo’s singles on Goldwax.
“Possibility” is a Stan Vincent composition which had been done by the Crowns on Old Town Records in 1964.
Gold Standard owner Zeke Clements produced, and the labels credit “The Coachmen (from Memphis, Tenn)” and “vocal by Tommy Burnett”.
Rusty Taylor and Larry Hill registered another composition “I Know”, in October, 1965, also with Blazon Music.
The Combustibles came from Bombay, India, and recorded “Watch Her” / “Some Peace of Mind” in 1970. Vocalist Everett Perry wrote both songs. “Watch Her” has vocals and rhythm that reminds me somewhat of the Velvet Underground. The songs saw release as Polydor 2067 020 in 1971.
Members on the single were Everett Perry on lead vocals, brothers George Taylor on bass and Lionel Taylor on lead guitar, Nissim Ezekiel on rhythm, and Bobby Furtado on drums.
The group participated in the Simla Beat contests in 1968 and 1969 and did well, but unfortunately those years did not see LP releases like the ’70 and ’71 contests. I would like to have heard that band at that stage, as the group had a partly different lineup, which included Christopher Valles on lead guitar and Croyden Maben on drums.
The Combustibles have a great website, www.thecombustiblesband.com with lots of photos and information on the band and the Bombay music scene. I highly recommend taking a look.
Thank you to Jörgen Johansson for providing this copy of the single.
Betty Simpson wrote both songs on this teen record on the Zundak label out of Alexandria, Louisiana, northwest of Baton Rouge. “What Is Love” is upbeat, while “Weeping Willow” is a ballad, as you’d expect from the title.
Betty was a teenager when she cut this in 1965. She worked with a band called the Argos, who were Billy Spillman (bass), Steve Smith (drums), Robert Rachel and Stan Rachel (both on guitar). They performed at the La Paloma Lounge south of Alexandria, and Betty also appeared at the Louisiana Bandstand TV show.
Photos and info come from the youtube video below, which has a few more news clippings of Betty:
They recorded the single at La Louisianne studios in Lafayette. Zundak was the label for one of my all-time favorite Louisiana garage 45s, “Baby Get Lost” by the Barracudas.
A list of red vinyl, promotional 45 rpm singles on the Epic label from 1962-1966.
Followed by other colored vinyl: blue, green, yellow.
Unlike colored vinyl on Columbia (see previous post), only about half of these have the same song on both sides.
Any additions or corrections would be appreciated.
Red vinyl:
5-9509 – Bobby Vinton - “Roses Are Red (My Love)” / “You and I ” 5-9561- Bobby Vinton - “Trouble Is My Middle Name” / “Let’s Kiss and Make Up” 5-9632 – Bobby Vinton - “O Holy Night” / “The Christmas Song” (Canada only) JZSP 76370 (other releases on 5-9640) – Linda Brannon – “Don’t Cross Over (to My Side of the Street)” / JZSP 76387 (other releases on 5-9643) – Kerri Downs – “4,003,221 Tears from Now” 5-9705 – Bobby Vinton - “Clinging Vine” 5-9730 – Bobby Vinton - “Mr. Lonely” 5-9741 – Bobby Vinton - “Dearest Santa” / “Mr. Lonely” 5-9863 – Dave Clark Five - “Over and Over” 5-9869 – Bobby Vinton – “Satin Pillows” 5-9877 – Joe Sherman and the Arena Brass – “Feeling Good” 5-10001 – The Remains – “Diddy Wah Diddy” 5-10025 – David Houston – “Almost Persuaded” 5-10045 – Donovan - “Sunshine Superman” / “The Trip” 5-10110 – Keith Relf - “Shapes in My Mind” 5-10134 – Tammy Wynette - “Your Good Girl’s Gonna Go Bad” 5-10180 – The Hollies – “Carrie-Anne” / 5-10184 – The Tremeloes - “Silence Is Golden”
Blue vinyl:
5-9593 – Bobby Vinton – “Blue on Blue” / “Those Little Things ” 9-9865 – The Goldberg-Miller Blues Band – “The Mother Song” / “More Soul, Than Soulful”
JZSP 79537 (b-side released on 5-9821) – Damita Jo – “Love Is Here to Stay” / “Nobody Knows You When You’re Down and Out” (possibly green vinyl too) 5-9885 – Nancy Ames - “Friends and Lovers Forever” / “Dear Hearts and Gentle People” (JZSP 112662) JZSP 113610 (other releases on 5-10032) – Jane Morgan - “1-2-3” / “Kiss Away” 5-10061 – Damita Jo - “If You Go Away” 5-10162 – The Marmalade - “Can’t Stop Now”
A list of red vinyl, promotional 45 rpm singles on the Columbia label from 1962-1966.
Followed by other colored vinyl: purple, blue, green, yellow, orange.
Almost all of these have the same song on both sides, but there are a few exceptions (two by Tony Bennett, promo-only singles by Steve Lawrence and Robert Horton, and Dylan’s “Like a Rolling Stone” which is separated into parts I and II).
Any additions or corrections would be appreciated.
Red vinyl:
4-42417 – Jerry Reed & the Hully Girlies – “Goodnight Irene” (July, 1962) 4-42582 – Johnny Mathis – “Gina” 4-42592 – The New Christy Minstrels – “This Land Is Your Land” 4-42593 – Carl Butler – “Don’t Let Me Cross Over” 4-42601 – Steve Lawrence – “Go Away Little Girl” 4-42606 – Lester Flatt, Earl Scruggs – “The Ballad of Jed Clampett” 4-42661 – Eydie Gormé – “Blame it on the Bossa Nova” JZSP 58841 (other versions use 4-42662) – Dion – “Ruby Baby” 4-42666 – Johnny Mathis – “What Will My Mary Say” 4-42699 – Steve Lawrence – “Don’t Be Afraid Little Darlin’” 4-42674 – Andy Williams – “Can’t Get Used to Losing You” 4-42776 – Dion – “This Little Girl” 4-42779 – Tony Bennett – “The Good Life” / “Spring in Manhattan” 4-42788 – Johnny Cash – “Ring of Fire” 4-42791 – Patti Page – “Say Wonderful Things” 4-42815 – Steve & Eydie – “I Want to Stay Here” 4-42827 – Ray Price – “Make The World Go Away” 4-42852 – Dion Di Muci – “Donna the Prima Donna” 4-42865 – Steve Lawrence – “Walking Proud” 4-42880 – Johnny Cash – “The Matador” 4-42888 – The Brothers Four – “The John B. Sails” (Canada only) 4-42950 – Andy Williams – “A Fool Never Learns” 4-42964 – Johnny Cash – “Understand Your Man” 4-42996 – Tony Bennett – “When Joanna Loved Me” 4-43035 – Rip Chords – “Three Window Coupe” 4-43037 – Anita Bryant – “The World of Lonely People” 4-43045 – Rene & Rene – “Angelito” 4-43067 – Linda Hall – “Hugo” 4-43082 – Eydie Gormé – “I Want You to Meet My Baby” 4-43113 – Aretha Franklin – “Runnin’ Out of Fools” 4-43120 – Billy Walker – “Cross the Brazos at Waco” 4-43128 – Andy Williams – “On the Street Where You Live” 4-43131 – Robert Goulet – “My Love, Forgive Me (Amore, Scusami)” 4-43141 – Tony Bennett – “Who Can I Turn To” / “If I Ruled the World” 4-43145 – Johnny Cash – “It Ain’t Me, Babe” 4-43171 – Mongo Santamaria – “El Pussy Cat” 4-43242 – Bob Dylan – “Subterranean Homesick Blues” 4-43271 – The Byrds – “Mr. Tambourine Man” 4-43277 – Chad and Jeremy – “Before and After” 4-43301 – Robert Goulet – “Summer Sounds” 4-43305 – Billy Joe Royal – “Down in the Boondocks” 4-43315 – Statler Brothers – “Flowers on the Wall” 4-43332 – The Byrds – “All I Really Want to Do” JZSP 110939 / JZSP 110940 – Bob Dylan – “Like a Rolling Stone” (Part I b/w Part II) – there is also a black styrene of Part I b/w Part II using the JZSP matrix #s on the white promo labels, but other promo and stock US versions use catalog # 4-43346 and have the full six minute version on A-side, with “Gates of Eden” on flip. 4-43351 – The Liverpool Set – “Must I Tell You (I Love You)” (Canada only) 4-43375 – Paul Revere & the Raiders – “Steppin’ Out” 4-43389 – Bob Dylan – “Positively 4th Street” 4-43390 – Billy Joe Royal – “I Knew You When” 4-43396 – Simon & Garfunkel – “The Sounds of Silence” 4-43424 – The Byrds – “Turn! Turn! Turn! (To Everything There Is a Season)” 4-43437 – Pozo-Seco Singers – “Time” 4-43461 – Paul Revere & the Raiders – “Just Like Me” 4-43465 – Billy Joe Royal – “I’ve Got to Be Somebody” 4-43469 – Barbra Streisand – “Second Hand Rose” 4-43556 – Paul Revere & the Raiders – “Kicks” 4-43589 – The Cyrkle – “Red Rubber Ball” 4-43592 – Bob Dylan – “Rainy Day Women #12 & 35” 4-43595 – Susan Christie – “I Love Onions” 4-43617 – Simon & Garfunkel – “I Am a Rock” 4-43626 – Ray Conniff and the Singers – “Somewhere, My Love” 4-43648 – Tim Rose – “Hey Joe (You Shot Your Woman Down)” 4-43660 – Eydie Gormé – “If He Walked into My Life” 4-43673 – Johnny Cash – “Everybody Loves a Nut” 4-43678 – Paul Revere & the Raiders – “Hungry” 4-43728 – Simon & Garfunkel – “The Dangling Conversation” 4-43729 – The Cyrkle – “Turn-Down Day” 4-43774 – Jerry Vale – “Dommage, Dommage (Too Bad, Too Bad)” 4-43784 – Pozo-Seco Singers – “I Can Make it With You” 4-43792 – Bob Dylan – “Just Like a Woman” 4-43794 – Patti Page – “Almost Persuaded” 4-43907 – Paul Revere & the Raiders – “Good Thing” —
JZSP 78856 / JZSP 78857 (no stock or other promo copies)- Steve Lawrence – “Bluesette / People”
———— Other 1960s colored vinyl Columbia 45s:
Purple vinyl:
4-42952 – Steve Lawrence – “Room Without Windows” 4-42965 – Barbra Streisand – “People” 4-43225 – Eydie Gormé – “Do I Hear a Waltz?”
Blue vinyl:
4-42810 – Dion – “Be Careful of Stones that You Throw” 4-42812 – Rip Chords – “Gone” 4-42924 – Lefty Frizzell – “Saginaw, Michigan” 4-42967 – Ray Conniff and his Orchestra And Chorus – “Honeycomb” / “Blue Moon” 4-43138 – Randy Sparks – “Julie Knows” 4-43248 – Barbra Streisand – “Why Did I Choose You”
Green vinyl:
4-42932 – Steve & Eydie – “I Can’t Stop Talking About You” 4-42805 – The New Christy Minstrels – “Green, Green” 4-43000 – The New Christy Minstrels – “Today” 4-43167 – Mel Torme – “Ev’ry Day’s a Holiday” / “One Little Snowflake” 4-43448 – Ray Conniff and the Singers – “The Real Meaning of Christmas”
Yellow vinyl:
4-42784 – Andy Williams – “Hopeless” 4-42921 – Rip Chords – Hey Little Cobra” 4-43015 – Andy Williams – Wrong For Each Other” 4-43215 – The New Christy Minstrels – Chim, Chim, Cheree” 4-43257 – Andy Williams – “‘…. And Roses and Roses'” / “Red Roses For A Blue Lady” 4-43431 – Tony Bennett – “Love Theme From ‘The Sandpiper’ (The Shadow Of Your Smile)” JZSP 117536/7 – Lotte Lenya, Jack Gilford – “It Couldn’t Please Me More” / “Married”
Orange vinyl:
4-43954 – Tony Bennett – “What Makes It Happen” JZSP 78864 / JZSP 78865 – Robert Horton – “The Very Thought of You” / “Hey There”
Black vinyl promos with same song on both sides:
4-42928 – Guitar Ramblers – “Surf Beat” 4-42971 – Ray Price – “That’s All that Matters” 4-43302 – Eydie Gorme – “Where Are You Now” 4-43666 – Black Sheep – “It’s My Mind” 4-43903 – Gene Clark – “Echoes”
The last single-sided colored vinyl release I have found is 4-43907 – Paul Revere & the Raiders – “Good Thing”
This site is a work in progress on 1960s garage rock bands. All entries can be updated, corrected and expanded. If you have information on a band featured here, please let me know and I will update the site and credit you accordingly.
I am dedicated to making this site a center for research about '60s music scenes. Please consider donating archival materials such as photos, records, news clippings, scrapbooks or other material from the '60s. Please contact me at rchrisbishop@gmail.com if you can loan or donate original materials
The Tyrods formed in high school in Chino, California in 1965. Chino is in San Bernadino County, just east of Los Angeles.
About the beginning of 1969 the band made a second single, “Hey Girl” / “In a Garden” this time on Flick City. The label changed the band’s name on the single to the Young Californians, but for live shows they continued to use the Tyrods name, as seen on posters opening for the Strawberry Alarm Clock, Giant Crab, and the Sunrays.
In 1969 they had their last single, this time as Buffalo Nickel on Dome Records 507. The sound is even more polished than the Young Californians single, but this time they didn’t use their original songs.
