All posts by Chris Bishop

Categories: Arcadia, California, DeVille, Los Angeles

Fenwyck with Jerry Raye / Cal Raye on DeVille Records

August 17, 2022 Chris Bishop 6 Comments

I found these promo sheets for Jerry Raye with Fenwyck on DeVille Records. Jerry Raye has a long and complex story. He started his career as Cal Raye, with about half a dozen singles on various labels. The fabulous “I Cry” on Runay RY-101/111 from 1966 would be reissued as Jerry Raye on DeVille.

The band Fenwyck came from Arcadia, California, just east of Pasadena. Members at one point included:

Pat Robinson – vocals and guitar
Pat Maroshek – bass
Keith Knighter – drums

The Monrovia CA Daily News-Post mentioned “Fenwyck”, “the Fenwyck Combo” and “Fenwyck’s Band” three times between August and December, 1965, including at the Citrus College Homecoming in November 1965.

The Los Angeles Times mentions Fenwyck playing a month-long battle of the bands at Pacific Ocean Park (POP), against the Grope, the Ives of Redwing, the Debris, the Tyfoo Five, Me and the Rest, the Quool “and hundreds of others”.

Fenwyck backed Jerry Raye on six songs released over four singles on DeVille, Challenge, and Progressive Sounds of America. Fenwyck are pictured on the album The Many Sides of Jerry Raye.

The back cover credits other musicians, including Jerry Cole, Ernie Freeman, and “the all-time personal friend from his hometown, Bristol, Rhode Island, Kenny Marshall”.

Considering “Mindrocker” is one of the iconic songs from this time period, I surprised I can’t find any detailed information on these sessions or Fenwyck.

In the 1970s, Pat Robinson formed Back Pocket with Patrick Maroshek, who also played with Hardchoir.

Patrick Robinson cut some solo 45s and worked with Gene Clark on Under The Silvery Moon and So Rebellious a Lover.

Besides Fenwyck, Raye also cut a couple DeVille singles with another band called the New Trend. Pete Apodeca wrote “Pray for Me” and also helped write “Children” / “Comin’ Back” for Pete Martin and the Features, also on DeVille. Tom Quilty wrote “I’ll Wait”.

A TV clip from circa 2011 has Cal crooning a couple numbers, mentioning he lived in Hollywood seven years, and that he appeared in a couple movies including Monte Walsh with Lee Marvin and Jack Palance.

Cal Raye advertising in the Tennessean, March 27, 1978

After leaving Los Angeles, Jerry Raye cut a few additional singles based in Nashville. He returned to the Cal Raye name with other records, “Sensuous Woman” on Laurie maybe his biggest seller.

Hit Talents letter from Charles W. Cabot accompanying Jerry Raye and Fenwyck promo sheets to Joe Dimaggio’s Restaurant in Houston

Cal had one LP You Tell Such Lovely Lies that has the DeVille Records name on the front cover, but may not have been connected to the Hollywood company.

He seems to have ended up in Florida in the 2000s. The Cal Raye Connection Trio played at the Top O’ Mast in Fort Myers, and Cal Raye ran karaoke nights in Orlando.

The Hit Talents letter of August, 1969 to Sam Dimaggio in Houston seems to be looking for investment in return for pressing, distribution and/or promotion. This Joe Dimaggio’s Restaurant was not connected to the baseball player, by the way.

Charles W. Cabot is Chuck Cabot, whose true last name may have been Charles Cascoles. Chuck was a band leader and vocalist, owner of Hit Talents and either owner or A&R man of DeVille Records.

Categories: New York, Schenectady, Vibra, Vibra-Sound, Vibra-Sound Recording Studio

Heathens – “The Other Way Around” / “Problems” on Vibra

August 11, 2022 Chris Bishop 1 Comment

The Heathens came from Schenectady, NY and cut one of the greatest singles of the area “The Other Way Around” / “Problems” on Vibra L-104. The Heathens recorded at Vibra Sound Recording Studio, but the cavernous sound does not diminish the energy of the group.

Michael Dellario wrote both songs and sang lead vocals. The labels credit Hooker, Stahl, Petticrew, Sheer & Marquez for arrangement.

I had to look back to Steve Rosen’s article in Kicks #2 for a full listing of the band, as there was none on the internet. In the article, the members are listed as

Michael Dellerio – lead vocals
Laddie Stahl – guitar
Steve Pedicrue – guitar
Larry Hooker – keyboards
Paul Marques – bass
Mike Sherer – drums

The article lists different last names for four members of the band than the record labels. I suspect the article has a number of typos. Going by the labels the lineup would be:

Michael Dellario – lead vocals
Laddie Stahl – guitar
Steve Petticrew – guitar
Larry Hooker – keyboards
Paul Marquez – bass
Mike Sheer – drums

The article gives some interesting information about Vibra Sound studio:

The Heathens were the first to record at Schenectday’s first studio, Vibra Sound, which at the time was located in the home of proprietor Nate Schwartz. As Mike Dellario remembers it, conditions were primitive: “At the time, the studio was his garage and the engineering booth was his basement. I remember there was no eye contact at all. All the talking was through the microphone. Everything was done basically in just one shot, no concept of tracking.”
The Heathens broke up when the members graduated high school in June, 1967. The article states that Dellerio stuck it out with several subsequent bands and eventually cut some demos for Warner Brothers … He hopes to work with local bands on a producer/arranger level.

Mike Dellario changed his name to Michael Dellaira and became an orchestral composer.

The Sensations, including Larry Hooker with the tambourine, and George Supreneault in the white shirt at right.

Walter Phelps (who was lead guitarist for the Ravens, also managed by Marty Wade) sent in this photo of the Sensations, which had some members who would go into the Heathens.

Categories: Ohio, Rite Record Productions custom pressings, Springfield, Urbana

The Tremors – “Wondering Why” on Catalina

August 8, 2022 Chris Bishop 3 Comments

Updated July, 2023

The Tremors “Wondering Why” on Catalina is one of the greatest garage records, but almost nothing was known about the band until recently, when Matt Aquiline found an article from the Urbana Daily Citizen on December 12, 1966, detailing their first recording session, which would produce the 45.

Members were:

Bill Cromwell – lead vocals and rhythm guitar
Derry Cox – lead guitar
Gene Monroe – bass
Herald Barker – drums and organ
Jim Cummins – organ and drums

Buckeye Beat has a photo and mentions that four members were from Urbana, Ohio and one from Springfield OH. They cut their single at the O’Brien Studio in Springfield, produced by musician and race car driver Ron Knull, released in December 1966 or January 1967 on Catalina 03/04.

The 45 was pressed by Rite Record Productions, 19469/70, account # 1801, both songs published by Ronnie K Music.

The writer credit on “Wondering Why” is Cummins – Barker. For some reason, many scans of this side on the internet have erased their names. I need to see a good scan of the B-side, the fine ballad “What Have I Done” to see if there are similar credits.

Paul Lunnon suggests Harold Barker was known as Hal Barker, he and Jim Cummins were long-time friends and musicians. Hal Barker mainly played drums, James Cummins organ and keyboards.

“The Tremors” dance band in the Daily-Times, New Philadelphia OH, March 31, 1967

The only other notice I can find is a mention of “The Tremors” Dance Band at the Quarter Miler Rod & Custom Show on April 1 & 2, 1967, at the National Guard Armory in New Philadelphia, Ohio, almost three hours’ drive east of Urbana.

Other singles on Catalina:

Catalina 1 – The Shacklefords – “The Wonderer” / “The Unloved” (1966, written by D. Shackleford, published by Lunk Music, Rite pressing 17743/4, account # 1801)

Catalina 335 – Ron Frasier and Consolidations – “Summer with You” / “Another Girl” (I need a scan of this single, it is a Rite pressing 18803/4, account # 297)

Categories: Fredericksburg, Virginia, Washington DC

December’s Children “Signed D.C.” on Domestic Sound Records

August 7, 2022 Chris Bishop 6 Comments

December’s Children at the Alexandria Roller Rink, November 22, 1967, Jerry Burke holding the mic, photo courtesy of Bud Becker

December’s Children came from Fredericksburg, Virginia, but were part of the same Washington, D.C. music scene as the Telstars. Bud Becker managed both bands, and the photos here come from his collection.

I don’t have the lineups down exactly but I believe members included:

Jerry Burke – lead vocals
Clay Staples (J.C. Staples) – lead guitar
Pete Kahn – rhythm guitar
Steve Gilles
Matt ”Red” Kilmer – organ
Mike Martino – drums
Mick Coiner (Mic Coiner) – lead vocals (replaced Jerry Burke)

Dick Alfers was a roadie for the band.

December’s Children at the Alexandria Roller Rink, Jerry Burke with tambourine, November 22, 1967

Ad for the December’s Children supporting the Turtles at the Alexandria Roller Rink, November 22, 1967

December’s Children biggest show may have been supporting the Turtles on November 22, 1967 at the Alexandria Roller Rink with Bobby Howard and the Sweet, the Plum Beach Incident, the Hounds of Baskerville, the Fantastic Plastic, the Seeds of Life, the Rokz, the Kings Row, the Gnu Generation, and the Yorkshires. WPGC “Good Guy” DJ Jack Alix presented the show.

December's Children, Ltd. Domestic Sound 45 Signed D.C.

Also in 1967, the group made their only single, featuring a cover of Love’s “Signed D.C.” backed with an original “So Long Ago” by Burke, Gilles, and Staples.

On the record the group is listed as December’s Children, Ltd., released on Domestic Sound Records DS-123, with an address at 133 South Washington Street, Falls Church, VA. M.A. Becker and December’s Children and DSP Music published “So Long Ago”.

After Jerry Burke left for Vietnam in 1968, Mic Coiner took over on lead vocals.

I don’t know if the band’s members continued in music. Jerry Burke passed away in 2007.

Bud Becker’s silent footage of December’s Children at a VFW hall with Jerry Burke on lead vocals, followed by Jerry Burke’s haircut shortly before going into the Marines, ending with a short clip at a Hullabaloo with Mic Coiner on vocals.

Thank you to Bud Becker and Paul Burke for their help with this article.

December’s Children at the Alexandria Roller Rink, November 22, 1967

Categories: Hertz Recording Studios (Newark), Morristown, New Jersey

The Fabulous Strings from Morristown, NJ

August 7, 2022 Chris Bishop Leave a comment

notice in the Courier-News, Thu, Sep 24, 1964

Frank Jones was born in Plainfield, New Jersey and joined the Fabulous Strings at age 15. Frank wrote to me:

My band the Fabulous Strings won a talent show in Newark NJ and recorded two demos at Hertz Studio 38 Halsey Street, Newark, New Jersey. The tunes were “How High the Moon”, “Slow Hold It”, “Movin’ Up” and “Vibrating”. I would like to listen to them again.
Charlie Morton – lead guitar
C.B. Hill – rhythm guitar
R.D. Cunningham – bass guitar
Frank Jones – drums

The Bridgewater Courier-News announced a benefit concert at Plainfield High School on Saturday, September 26, 1964 with 20 acts including Sammy and the Del Larks, the Conchords, Jimmy Gator, Mersey Johnson, the Plazas, Paradons, Jo Jo and the Admirers, the Tri Dells, Harry Ring and the Fabulous Strings, Parliaments and Parlets.

If anyone comes across any Hertz Recording Studio lacquer demos of the Fabulous Strings, please contact me.

Frank Jones has kept active in music, and can be found on facebook.

Categories: Kennett Sound (Kinderhook NY), Kingston, New Paltz, New York, Orange County, Ulster County, Walden, Wallkill

Morning After “I Don’t Need You Today” / “Dream” on Third Wave

August 5, 2022 Chris Bishop Leave a comment

Morning After released one record in 1970, “I Don’t Need You Today” / “Dream” on Third Wave 0027.

Members were:

Joe Kearney – lead guitar and vocals
Bruce Talbott – bass guitar and vocals
Jim Tate – drums and vocals

Although all three have song writing credit on the labels, copyright registration from March, 1970 shows Bruce E. Talbott wrote words and music to “I Don’t Need You Today”, and Talbott and Joseph Kearney co-wrote “Dream”. Dyad Music published the songs, but I don’t see them in BMI’s database.

According to an article in the Kingston Daily Freeman from March 7, 1970, the group met in New Paltz but were based in Kingston, NY. The group were in their early 20s, so they may have had previous band experience.

For Them, Rock’s the Mother Tongue
Morning After is not much interested in talking up a revolution. Its three clean-cut, suede-jacketed-and-vested members prefer to sing songs that are rhythmic with vocal harmony rather than rife with social movement … forsaking screaming lyrics and fire-eating antics for music with a straight-ahead sound.
Relying on the powerful, bluesy, lean sounds of Wallkill drummer Jim Tate, Kingston lead guitarist Joe Kearney, and bass guitarist Bruce Talbott of Walden … Their impeccable instrumental style and express-track delivery has brought them bookings at The Creamery in West Park, the Thunderbird in Saugerties, the Blue Eagle in New Paltz, and the Trade Wind and Coral Reef in Newburgh …
Talbott … tied in with the other two members of the group during a jam session while he was a student at New Paltz State University College.
The new disc, produced by Lance Naylor for Third Wave Records, was recorded at Kennett Sound Studios in Kinderhook: is currently available at Caldor’s Abrams and Britts.
(T.G.)

I don’t know if Talbott, Kearney or Tate continued in music after Morning After. Their record is one of the few singles from Kennett Sound studio that I don’t have in my collection.

Lance Naylor had a previous mention in the Daily Freeman, from March 25, 1969:

Theft of musical instruments valued at $1,000 from the Pleasure Yacht Tavern here, was under investigation …
Lance Naylor … manager of The Spurs, a musical group, reported the theft on Monday to authorities. He said the missing articles included three amplifiers and other musical equipment.

Categories: Black Cat, Florida, Orchid, Tallahassee

The Mystics “Snoopy” and the Many Others “(Tell Me Why) I’m Alone”

July 31, 2022 Chris Bishop 2 Comments

The Mystics, from left: Dan Searcy, Ben Willis, Donnie Fields, John Schuessler and Johnny Teague at an “infamous gig” at the Woman’s Club, 1965

The Mystics came from Tallahassee, Florida, and in late 1964 recorded “Snoopy”, a crude version of the Vibrations “My Girl Sloopy”.

Members of the band were:

Johnny Teague – guitar and vocals
John Schuessler – guitar and vocals
Ben Willis – guitar and vocals
Dan Searcy – bass and vocals
Donnie Fields – drums

Mark Hinson wrote a profile of the group’s upcoming reunion in the Tallahassee Democrat on April 3, 1998, featuring the photo at top, and mentioning that the Mystics cut “Snoopy” at a small studio on Adams Street.

Teen Beat Mayhem states “consensus opinion deems the McCoys patterned the arrangement of “Snoopy” for their own remake of ‘Hang On Sloopy.'”

The article quotes John Schuessler about the McCoys version:

It was the same producer and he used our exact same arrangement. But he left town with our contract, which was written on the back of an FSU speeding ticket, and there wasn’t much we could do.

Released on Black Cat 501, “Sloopy” is credited to C. Jim, aka Curley Jim (real name James Morrison), who did not write the song, but was associated with Marve-N-Harve Music Pub. out of Miami. The flip was a version of “Oo Poo Pah Doo”.

Somehow the single also saw release in February 1965 on Future Talent 13893/4, “A Rose-Givens-Mason Production” from tiny Waverly, Virginia, and also with Marve-N-Harve Publishing.

I don’t know who the Mystics producer was, but “My Girl Sloopy” / “Hang On Sloopy” was written by Bert Berns (aka Bert Russell) and Wesley Farrell, and produced by Feldman, Goldstein, Gottehrer (the trio behind the Strangeloves singles), so the connection is unclear.

In December 1965, the group released another single as the Many Others on Orchid BC-504. “(Tell Me Why) I’m Alone” is a great original by Johnny Teague. The flip is a version of “Can I Get a Witness”, which according to the article was “a fluke No. 1 hit in Japan”. However, I can find no release of this single in Japan.

Orchid and Black Orchid Publishing were based in Miami, like Black Cat and Marve’n’Harve Pub. Orchid singles from two other west Florida bands. From Marianna there was the Bangs “Then I’ll Cry” / “Tab Top” in 1965. In 1966 Orchid released the Pagans “Your Going To Lose That Girl” / “Strawman” (written by Frank Chandler), recorded live at Rutherford High School in Panama City.

Donnie Fields died in a car crash circa 1988, so when the Mystics reunited in 1998, Richard Bevis played drums. Another reunion in 2000 included David Cox on keyboards and vocals, and has been released on CD as “Live and Kickin'”, but I haven’t heard it.

Categories: California, San Jose, Santa Clara

Pat ‘n’ Al – “I’m Still in Love” / “Meant to Love” on Pleasure Records

July 28, 2022 Chris Bishop Leave a comment

Pat ‘n’ Al were Pat Bowers and Al Hittle, with Steve Marley on drums and Jim Gonzales on guitar. Al Hittie and Pat Bowers wrote both songs on their single, “I’m Still in Love” / “Meant to Love” released on Pleasure Records 45-1050, with Sunnyvale, Calif on the label.

Bowers Music published the songs, with copyright registered by Patrick D. Bowers and Alvin R. Hittle on October 4, 1965.

There is some incorrect information on the internet that this is a stereo record from 1968. It is a mono record, and the date was probably late 1965 to match the publishing.

The Las Gatos Times-Saratoga Observer on March 5, 1965:

Young performers from area high schools will have their turn to appear in the Villa Montalvo Carriage House Theatre March 12 and 13. The cultural center’s drama committee will present “A Folk Festival”, featuring local folk singers and instrumentalists … Pat Bowers and Al Hittle, Buchser High School, will sing many of their own songs.

Steve Marley commented on youtube:

This was recorded in 1965 at Pacific Recorders in San Francisco. The instrumentals were put down live and just the vocals were overdubbed. Pat Bowers, Jim Gonzales and Steve Marley (me) attended Santa Clara High School together. Pat, Al and Jim were seniors, while I was a kid freshman. Pat n’ Al played regularly at Ricardo’s Pizza in Willow Glen in the summer of 1966.
After Pat n’ Al, I joined a couple of other bands, before landing the Teddy and his Patches gig in 1967 – the year we recorded “Suzy Creamcheese” at Tiki Studios in San Jose.

One note though – Pacific Recording Studios in San Mateo did not open until 1968. The runout code CR-2711/2-RE suggests the group went to Coast Recorders at 960 Bush St. That code could also mean the single was recorded elsewhere but mastered at Coast.

Commercial Recorders at 149 Natoma St. is another possibility. Engineer Dan Healy recorded his friends’ bands after hours by invitation. During the day the studio was busy producing radio ads, but did record and master some garage singles like the Ethix “Bad Trip” / “Skins” on Mary Jane.

In November 1965, Patrick David Bowers and Alvin Robert Hittle registered three additional songs, “Why, Oh Why?”, “Yes I Do” and “You Say”. Alec Palao tells me there is another, folkier, Pat ‘n’ Al single, which I have not seen yet.

After leaving Teddy and His Patches, Steve Marley and David Conway would record another single as The Change: “The Time Traveler” / “Things Aren’t What They Seem to Be” on Chance 670.

I am not sure if Pat Bowers, Al Hittle or Jim Gonzales continued in music.

Thank you to Alec Palao for help with this post.

Categories: California, Canterbury, Los Angeles, World Pacific

The Electric Tomorrow “Sugar Cube” on World Pacific, Clem Floyd, and the Sound Machine on Canterbury

July 26, 2022 Chris Bishop 1 Comment

The Electric Tomorrow single is one of only two record credits I can find on musician Clem Floyd. The Electric Tomorrow was likely a studio concoction from early 1966. At the time Clem was a member of the Sound Machine, a group in the middle of the mid-’60s Los Angeles music scene.

Clem Floyd and Jack Millman co-wrote “Sugar Cube” and “The Electric Tomorrow”. Both are captivating instrumentals, despite an odd warble that could be considered a defective tape transfer. Dan Daniels did “sound coordination”, perhaps manipulating the tape to give these songs their strange sound.

Jack Millman and B. Elder “of Music Industries” produced the single for Banyan Productions, released on World Pacific Records 77860.

I can find no listing of musicians on the single, nor do I know if Clem Floyd played on it.

B. Elder and Dan Daniels also have credit for sound coordination on the Mira LP New Directions of the Afro Blues Quintet Plus One, also recorded in 1966. Jack Millman produced three cuts on that album, which has special effects credited to David Diller. Some of the cuts on the album have a passing resemblance to the Electric Tomorrow single, such as “Incantations” and portions of “3/4-5/4-7/2 (Liquid Landscape)” and “Freaks”.

The Afro Blues Quintet Plus One included Joe DeAguero, Jack Fulks, William Henderson, Jim Keltner, Michael Davis, Norman Johnson and Moises Obligacion. It’s possible some of these musicians play on the Electric Tomorrow single.

BMI’s database also lists “Everything’s Gonna Be Alright” published by Irving Music, and another collaboration with Jack Millman, “Minute Freakout”.

The Sound Machine had one single: “Gotta Ease My Mind” / “Spanish Flash” on Canterbury C-511 from March, 1967. Clem wrote both songs and Gerald Curland (who has no other credits I know of) produced.

In Hollywood Eve, published 2019, Lili Anolik describes Clem Floyd as band mate to David Crosby in an unnamed group, and also as part of the Sound Machine with John Densmore. The book has more detail about Clem’s relationship with Mirandi Babitz (sister of Eve Babitz) and their leather clothes business, but nothing further about Clem’s music.

In the July 29, 1966 Los Angeles Free Press, Jerry Hopkins mentioned “Clem Floyd’s newly reorganized Sound Machine” opening for the Factory and the Mothers of Invention, in a review of the Great Underground Arts Masked Ball and Orgy (GUAMBO).

In late 1966, Mojo Navigator #11 mentioned the reorganized Sound Machine with “Gary Marker, formerly of the Rising Sons on bass”.

Grant Johnson played keyboards with the Sound Machine around the same time he was part of the Psychedelic Rangers with John Densmore, Robby Krieger, and Billy Wolff.

On his website, Bruno Ceriotti mentions the Sound Machine playing an after-hours show at Dave Hull’s Hullabaloo on January 14, 1967.

That is all the info I can find on Clem Floyd and the Sound Machine to this point.

“The Train” / “You Put Me Down” on San Mateo’s Action Records is a different Sound Machine altogether, with Wayne Ceballos (later of Aum) on guitar, Ty Tolomei playing organ, and Lee Better on drums.

Special thank you to Mike Dugo for pointing out the Sound Machine single I had missed. Info on Wayne Ceballos from Hooterollin’ Around.

Categories: AAA Recording Studios (Boston), Massachusetts, Musicor, Rhode Island, Unknown

The Grand Jury on Musicor’s New Talent Series

July 20, 2022 Chris Bishop Leave a comment

The Grand Jury made one single, “Lovely Lady” / “Rollin” on Musicor Records’s New Talent Series NTS 417. The New Talent Series is an interesting set of records, including some experimental singles that I haven’t covered before, like the Lemon and Lime.

The Grand Jury single is not as adventurous, but both are original songs by Moore and Spitrini. Of the two, I prefer the B-side, “Rollin'”. Like others in the series, it is a styrene 45 that is easily worn.

I can’t find any information on where the group is from or who the members were. I am guessing Rhode Island only because Spitrini is an unusual surname, but is found in Rhode Island.

Joe Saia owned AAA Recording Studio and Parsay Pub. Co. Parsay appears on many New Talent Series 45s like the Lemon and Lime, the Lost Souls, and LSD, as well as other AAA productions like the Collage’s “Best Friend” / “Girl Don’t Tell Me”.

However, most of these songs do not appear in BMI’s database, or in the Library of Congress list of registrations.

I’d appreciate any further info on the Grand Jury or other acts that recorded at AAA.

Garage Hangover