The Creation were from Albuquerque, New Mexico. There were three members in the group: Al O’Donnell on lead and rhythm guitar, his brother Mike O’Donnell on bass, and Ernie Phillips on rhythm guitar. All three contributed lead and harmony vocals.
The Creation recorded two singles within a few months of each other. The first was “What The Daisies Know” / “Sun And Stars (I Miss Her So)” on Centurion 45-3001, recorded in October 1967 and released by December. Both sides were written by O’Donnell and Phillips for Tenmand Music, BMI. The publishing contracts list Joe Green with Tenmand Music. Distribution was by Lance Music Enterprises on SW 4th St.
The second single is “No Silver Bird” backed with “The Warmth of Love” on Centurion 45-3002, recorded December, 1967. The quality of the band’s performance is very different from the Creation’s first 45, more disciplined and better-recorded, with a droning, trance-inducing sound.
The label design is also not much like Centurion 45-3001, with a different typeface, nor does it have the Lance distribution credit at the bottom. The Wakefield plant in Phoenix pressed both singles.
Lyrics to “No Silver Bird” consist of only six lines!
Go on, take an airplane ride, Get on that big silver bird and fly, The world would be so heavenly, If you would come along trippin’ with me, Go on, take an airplane ride, Don’t need no silver bird by my side.
The Creation’s single of “No Silver Bird” is very rare; until 2018 the only image circulating was a poor quality b&w photo of a DJ promo label. With nothing known about the Creation, there was speculation that their version of “No Silver Bird” was an ’80s recording made in an older style.
On July 7, 1968, the Hooterville Trolley recorded their own versions of “No Silver Bird” and “The Warmth of Love” at Norman Petty’s recording studio in Clovis with producer Tommy Bee. The Hooterville Trolley and the Creation did not share any band members.
The labels give Ernest Phillips sole credit for both songs, and publishing changes to Reginald Music Publ. and Stinger Music. The Hooterville Trolley single wasn’t released until January of 1969.
Tenmand Music publishing contract for “No Silver Bird” and “The Warmth of Love” by the Creation
In 2018 Al O’Donnell contacted me, and together with his brother Michael, answered my questions about the group and provided the scans of the contracts, lyrics and radio survey seen here.
Al O’Donnell:
The Creation was short-lived and we mostly wrote and arranged songs.
I have been playing guitar since very young. I usually played lead and rhythm on tracks. Mike picked up the bass as a new undertaking at the time we formed the band and became good very quick. Earnie played rhythm. The drummer and keyboard were always hired out and not part of the music development or lyrics.
Q. Who sang on the songs?
In all the songs Earnie, Mike and I sang and/or harmonized.
Q. Did the Creation play live shows? Are there any photos of the group?
Not really and no photos, [we were] just song writers composers and hopeful performers.
A couple of older gentlemen came to us and wanted to make us big. We had a backer and recorded both records that did get lots of airplay in the local area. Several thousand records were distributed.
The Creation’s “Sun and Stars” listed in KQEO’s Local Spotlight for December 16, 1967
“The Warmth of Love” was played locally as well, just did not get a local spotlight note.
On “No Silver Bird”, the guitar I was playing used a sound effect pedal and the repeater was adjustable with which I could set the tempo, that was the sound you refer to. Not even sure of what brand all the equipment was … I have had so many.
After several months of air play and not hearing from the guys who were doing the distribution, we went to their office and it was empty. Gone, along with the proceeds from the record shops. Being young and broke we could not pursue.
I never heard the Hooterville Trolley version [before recently]. I was not involved with Hooterville.
“Here Comes That Rainy Day Feeling” recorded by the Fortunes and “Signs” recorded by the Canadian group Five Man Electrical band sounded suspiciously like ones we wrote, can’t prove it today as the originals were on Earnie’s machine, gone forever. Both were credited to have been written by others.
Phillips died some time ago.
I am the only one who plays today for fun. I own a Martin 6 and a Seagull 12 with pickups for larger occasions. I have some some originals I have written since then but no real connection to the industry, and just copywriting for the heck of it seems a waste of time knowing the industry.
Al ODonnell, 2018
Lyrics to “Sun and Stars”
Michael O’Donnell:
Earnie was in sales so he actually found Green [Joe Green, Tenmand Music publisher]. Green had advertised in the paper looking for local talent and Earnie responded after telling us about what he found, at least that is how I remember it.
After we made contact Earnie, Al and myself went and met Green and sang something for him and that is where it started.
I believe the second record, “Warmth of Love” and “No Silver Bird” were recorded in December 1967. I do remember hearing the song on KQEO while I was driving down the street, that is not something you easily forget.
Q. I checked BMI and the Library of Congress lists online but couldn’t find registration of any of your songs. I noticed Phillips was listed as sole writer of “No Silver Bird” on the label. Was that a mistake?
Creation lyrics to “No Silver Bird”
Ernie is no longer with us to speak for his recollection so I can only say I remember that no one could claim individual credit for anything the group did. There was collaboration in the lyrics, music and arrangement by each member for everything recorded. I have included the original note paper lyrics that I wrote down as we all worked together.If you looked at the initial contract for the second record, “Warmth of Love” and “No Silver Bird” you will see all three individuals were credited for writing etc. Not that it makes any difference, the history is just fun.
I seem to recall that Ernie fronted a larger portion of the money to record the second record (“No Silver Bird”) so I can only assume that this is how he negotiated with the promoter to be repaid.
There were different “tasks” each undertook in the process and Ernie took on the task of getting paperwork processed with the promoter etc. When I found the paper-work concerning the contracts, I also found uncompleted copy-right paperwork so I suppose that was one task that did not get completed.
When you are very young and naive, things like this attention to detail sort of slips. We were just having fun and trusting the promoters, contracts and each other.
Michael O’Donnell, 2018
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There was one additional single on Centurion 45-3003/4. One side is Los Gallegos y Sr. Max Roybal “San Martin des Porres”, written by Jose Green and arranged by Ramon Gallegos. The other side is Sean & the Junction with “My Little Girl” written by Ernest Phillips and Joseph E. Green, and produced and arranged by Ernie Phillips. “My Little Girl” starts slow and immediately picks up tempo, with an unusual middle section, and a lead vocal in what I consider a crooning or song-poem style. Unlike the Creation’s songs, Tenmand Music registered both of these with the Library of Congress on December 9, 1968. Al and Michael O’Donnell do not recall these artists or know who was involved with Sean & the Junction.
Thank you to Al and Michael O’Donnell for answering my questions about the group and also for providing scans of contracts, lyrics and the KQEO survey.
Thank you to Jeremy Sloan for alerting me to the third Centurion single.
Lyrics to “What The Daisies Know”Tenmand Music publishing contract for “Sun and Stars” and “What the Daisies Know” by the Creation
The Chevels released only one single that I know of, but it’s a double-sided instrumental winner. It’s not an unknown single, but it is one of many featuring Pat and Lolly Vegas, who deserve a full singles discography of their own.
Lolly Vegas wrote “Hendersonville”, a fine guitar workout on blues changes. It’s difficult to know which Hendersonville the title refers to, the suburb of Nashville along the Cumberland River is a possibility.
Pat Vegas and E. Engber wrote “Hootenanny Ho-Down”. Engber is actually Elliot Ingber, who played rhythm guitar with the Gamblers of “Moon Dawg!” / “LSD-25” fame, joined the Mothers of Invention and played on Freak Out, started the Fraternity of Man, and joined Captain Beefheart on The Spotlight Kid, among many other credits.
Released on Gass GS-1001, the October 19, 1963 issue of Cash Box reviewed the single favorably, listing “Hootenanny Ho-Down” as the top side.
Production was by Gram – Fisher, possibly J. Fisher, but I haven’t come across these names before to my recollection.
The only other Gass single, by the Travelers, was produced by Leo Kulka, who would move to San Francisco and found Golden State Recorders in 1964.
The Buggs came from Forbes High School in Kantner, Pennsylvania, about 75 miles southeast of Pittsburgh. In February, 1966, the Buggs cut two songs at Bittner’s Recording Co. in nearby Somerset. “It’s All Right” is great frantic garage, “Please Be True” is an original ballad by Raymond Lohr. Rite Record Productions in Cincinnati pressed the 45s, which are now very scarce.
Members were:
Raymond Lohr – singer and lead guitar Ernie Lohr – bass guitar Barry Boyer – organ Joe Wirleich – drums
The Somerset Daily American Newspaper on Wednesday, March 9, 1966 wrote:
No, these are not the kind that will bite or harm you. As a matter of fact, they are pretty friendly. It is a name given to a Rock and Roll band from Forbes. Members of the group are: Raymond Lohr, singer and lead guitar; Ernie Lohr, bass guitar; Joe Wirleich, drums; and Barry Boyer, organ. All members of the group are from Forbes, except the manager, Ronnie Eutin, who is from Frielens.
They recently cut their first record with the Bittner Recording Company of Somerset.
The group will suffer a great loss, when Ernie Lohr leaves for the service at the end of March. Ernie has been with the group since it started in 1964.
Bittner’s would release four other singles that I know of, one each by Andy Wynn, Donnie Hunter, Larry LaVigne and Judie Follmar.
Ray Lohr passed away on May 17, 2017. An obituary online adds some information about his song, “Please Be True”:
He grew up in Hooversville, Pennsylvania, and graduated in 1966 from Forbes High School in Kantner, Pennsylvania. While in high school, he was a member of “The Buggs” rock ‘n’ roll group; he wrote and produced a 45 record entitled “Please Be True to Me Girl” about his high school sweetheart who had moved to Anchorage, Alaska. Shortly thereafter, Ray headed to Anchorage where he married the love of his life, Sandra J. Shumaker, on March 4, 1967.
Here’s a relatively unknown single by female vocalist Brook Hall. The A-side has the solid hippie-psych of “I Had a Dream”, the flip “Coming of the Sun” is a ballad.
Brook Hall and P. Kasper wrote “I Had a Dream”, and Phil Kasper wrote “Coming of the Sun”, both show publishing Target Music (BMI).
Produced by Terry Munford, this was released on the one-off Target label of Hollywood as Target T-1010 in March of 1970.
I can’t find any leads on the people who made this record. I did find “I Had a Dream the Other Day” registered to Guy Ditmars and Brook Hall, Vail Pub. Corp, in November 1969.
The Wanderers cut this great version of Fats Domino’s 1958 hit, “Sick and Tired”, with catchy lead guitar throughout. The flip is a good version of “There Is Something on Your Mind”.
Tri City Records released this as Tri 5452. The code ZTSB 125453 refers to a custom pressing at Columbia’s Nashville plant, probably in early 1966.
I doubt I will discover who was in the Wanderers, as both sides are versions of r&b hits so there is no song writing credit to trace.
It does seem possible these Wanderers are the same group on a yellow-label 45 pressed by World Wide Records in Nashville, and produced by Tri-City Records, No. 3269. One side has Kenneth Castlemen’s great take on “Match Box”, the other James Stafford with the Wanderers doing “Changing My Mind “.
These artists are supposed to be from Jackson, Tennessee, about 2 hours drive west of Nashville.
World Wide Records is mentioned in Billboard as starting in 1966 and having Carlene Westcott Whaley as sales manager, prior to her starting Consolidated Record Enterprises. World Wide had a studio at 5819 Old Harding Rd in Nashville and seemed to specialize in white gospel records.
In November 1967 a single by the Riders of the Mark came out on 20th Century Fox Records 45-6694. One side is the very accessible “Gotta Find Somebody”; the flip is the wild two minutes of “The Electronic Insides and Metal Complexion That Make Up Herr Doktor Krieg”.
Teen Beat Mayhem lists locations of Moorestown, New Jersey which is east of Philadelphia, and Lancaster, Pennsylvania, over an hour’s drive to the west.
The Riders of the Mark may have been a real group, but the credits on their 20th Century Fox single don’t support that idea, and instead point to John Hill, Don Cochrane and their associates.
John Hill wrote “Gotta Find Somebody”; John Hill and Don Cochrane wrote “The Electronic Insides and Metal Complexion That Make Up Herr Doktor Krieg”. Blackwood Music published both songs, and the Blackwood connection features in the lead for news items on the recording in Cash Box and Record World. Tony Luis and John Hill produced both sides, and Hill arranged “… Herr Doktor Krieg”.
Record World, November 4, 1967
John Hill and Don Cochrane composed “Love, Love, Love, Love, Love” for the Nite People, also done by Wool, and John Hill released it under his own name on a Columbia 45 backed with “I’m a Bear”.
Hill produced and played guitar on Margo Guryan’s 1968 LP Take a Picture, and produced the sessions that would be released as Susan Christie’s Paint a Lady. Studio musicians included Kirk Hamilton on bass and Jim Valerio on drums. These were done at Philadelphia’s Sigma Sound Studios, but since that studio opened in 1968, I have to assume the Riders of the Mark single was recorded elsewhere.
In 2009, Finders Keepers Records released some of his 1970 sessions at Sigma Sound as John Hill’s 6 Moons of Jupiter.
The Nite Liters horn section at D’Arcy studio, from left: George Resto, Harrel Baker and Danny Kelly.
Don Faulk and Harrel Baker wrote the A-side of the Nite Liters excellent single on Sounds International 631, “Set Me Free”. D’Arcy Sounds Studios‘ publishing company Twenty Grand Music belatedly registered copyright on over 20 songs including “Set Me Free” on April 3, 1968. Since this seems to be the earliest release on Sounds International, the single likely dates a year or two earlier.
Danny Kelly of the Nite Liters wrote to me about the group and sent the photo seen above:
I did play trumpet with the Nite Liters along with George Resto and Harrel Baker on sax and also rhythm guitar. Bobby Schnell on drums, Joe Fromel on keyboards and vocals, Donnie Faulk on bass and vocals, and Steve Keith on lead guitar filled out the rest of the band.
We all went to Hampton High School. Danny and the Del Notes went to Newport News High School which was a real rivalry in every sense.
We recorded an original titled “Set Me Free” and covered “The Harlem Shuffle” in D’Arcy Studio around the time Danny and the Del Notes did their record. We were both on the Sounds International label. Our 45 aired locally on AM and played on a few juke boxes. We only had 500 copies made.
Before George and I were recruited into the band, the Nite Liters played in the battle of the bands at the Peninsula Auditorium.
I remember playing with Dennis and the Times at the Peppermint Beach Club in Virginia Beach. The best times were when we were the house band at the Hullabaloo Club in Newport News, Va. We even tried getting into some psychedelic music there. That was really crazy.
There were other good times like when a couple of members including myself went down to North Carolina to get a dj Russ Spooner to play a demo tape on the air. We recorded that also at D’Arcy studio.
As of right now, we’re all still alive and kicking. Steve, Bobby and myself are the only ones still in the area. George and Joe are up in northern Va., Donnie’s somewhere out west and Harrel is music director with a group in Hawaii. He was a surfer back when we were at Hampton High School. I’m retired from the USPS.
The Dynamics were from the west side of Louisville, Kentucky, and cut a great instrumental single from 1962 or 1963 on Farrall Records.
Jerry Hargrove wrote the A-side, “Later On”, which starts out with a solemn intro for 15 seconds then kicks into high gear with a driving guitar riff and growling saxophone. That slow intro was cut when this song appeared on a volume of Strummin’ Mental many years ago.
Gary King wrote the flip, “Departure”, a ballad all the way through. Tronic Music published both sides. Issued as Farrall Records FAR-45-694.
Max Waller alerted me to an entry in Brenda & Bill Wood’s book Louisville’s Own which gives an extensive band member list. On this instrumental, the likely lineup is:
Jerry Hargrove – lead guitar Gary King – saxophone Bob Webb – bass Johnny Coffman – drums and possibly Freddie Witzelhouse on rhythm guitar
According to Louisville’s Own, the Dynamics formed in 1961, most members students from Shawnee High School.
Other members would include:
Tinsley Stuart – lead vocal Gary Harrod – vocal Kenny Flowers – vocal Tommy Flowers – vocal
In 1963, most of the band (Tinsley Stuart, Gary Harrod, Bobby Webb, Gary King, and Johnny Coffman) joined members of two southern Indiana bands (the Citations and the Imperials) and Frank Bugbee (later in Soul Inc. and Elysian Field), and formed the ten-member group, the Shadows, who released one single “Shake Sherry” / “That’s All” on Jam 45-109 in September 1964. That band later became the Chateaus. The Chateaus had three singles including ones on Jam and Boss Records.
Farrall Records released a number of good rockabilly and country-bop singles by Ken Turner, Paul Wheatley, Jimmie Dale, & Fannom Patrick, among others. It may be best known for the original version of “Scorpion” by Jimmie McConville & the Shamrocks. The label had an address of 1834 Nelligan Ave, near Portland Ave.
Thank you to Max Waller and Louisville’s Own for information on the group.
The Roustabouts came from Fort Smith, Arkansas, roughly halfway between Little Rock and Oklahoma City and the base for the earlier group Bobby & the Denos. In July, 1968 the Roustabouts traveled to Little Rock to Steve Jaggars’ studio to cut their only single.
Band members were:
Danny Hendricks – lead vocals Gene Rodgers Johnny Carrol Scott Dave Davis
Danny Hendricks wrote “Just You And Me”, the chugging, almost menacing, A-side of the single. Dave Davis wrote the ballad “Lonely Blues”. Tyler Pub. Co. published both songs.
The Roustabouts stayed active until the 1980’s, according to the liner notes to Lost Souls vol. 1., where I found most of this info.
The Other Side came from Tulia, Texas, a small town south of Amarillo and north of Lubbock. The Tulia Herald profiled the group on November 9, 1967.
Members were:
Kennth Bean – lead guitar Paul Sharp – organ Perry Russell – bass and band “showman” Bill Cruce – drums
I don’t believe the group recorded, but it’s encouraging that they had three Kinks songs in their live repertoire.
This is NOT the same group as the Other Side who cut “I Can’t See You” / “Your Faith So Strong” on Warlock Records ACA 6250 in October, 1966. That group came from Victoria, TX, almost 600 miles away and included Tobias Henderson, Bill Gaida, Leroy Materanek, John Wells, Terry Wells, and Gary Vancleave
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The Creation were from Albuquerque, New Mexico. There were three members in the group: Al O’Donnell on lead and rhythm guitar, his brother Mike O’Donnell on bass, and Ernie Phillips on rhythm guitar. All three contributed lead and harmony vocals.
The second single is “No Silver Bird” backed with “The Warmth of Love” on Centurion 45-3002, recorded December, 1967. The quality of the band’s performance is very different from the Creation’s first 45, more disciplined and better-recorded, with a droning, trance-inducing sound.
On July 7, 1968, the Hooterville Trolley recorded their own versions of “No Silver Bird” and “The Warmth of Love” at Norman Petty’s recording studio in Clovis with producer Tommy Bee. The Hooterville Trolley and the Creation did not share any band members.
I have been playing guitar since very young. I usually played lead and rhythm on tracks. Mike picked up the bass as a new undertaking at the time we formed the band and became good very quick. Earnie played rhythm. The drummer and keyboard were always hired out and not part of the music development or lyrics.
