The Atlanta Vibrations have the first single on the short-lived Sim-Cor label out of Atlanta, Georgia. “If You Let Me Love You” / “My Hometown”.
Members included:
Woody Turner – lead vocals, guitar Spencer Kirkpatrick – guitar Bob Giannoni – bass Charles Lunsford – guitar Ricky Wafford – drums, replaced by Tom Sims
Both songs of their 45 are good but I find “If You Let Me Love You” the most catchy and well done. Woody Turner wrote both songs, published, as all on Sim-Cor by Bold Lad Music, BMI.
I haven’t found out much about the band yet, except that they had a spot opening for the Beatles during their 1965 tour. The band continued with a different lineup into the late ’60s.
After leaving the Atlanta Vibrations, Woody Turner joined the Apolloes for a period, but I don’t believe he’s singing on their singles. Spencer Kirkpatrick would later join Hydra, who had two LPs on Capricorn and one on Polydor in the ’70s.
Photos and much of the info on the Atlanta Vibrations came from the Atlanta Bands Facebook page.
Sim-Cor discography (any help with this would be appreciated)
Sim-Cor 101 – The Atlanta Vibrations – “If You Let Me Love You” / “My Hometown” (NRC #385, April 1966) Sim-Cor 45-102 – Robby – “People Ain’t Going Nowhere” / “I Don’t Want to Leave” (both by Robby Barnes for Bold Ladd, BMI, NRC #405, 1966) Sim-Cor 492 – Ann & Anne – “I Met a Man” (Ann Ford) / “Beyond the Sea” (NRC #492, 1966) Sim-Cor 45-003 – Imposters – When You Say (Kenneth Gowan) / Please Please (NRC #543, 1967)
The NRC numbers at the top of each label indicate Sim-Cor was one of the many Georgia labels that pressed at the National Recording Corporation’s pressing plant.
The Atlanta Vibrations, notice Sounds Incorporated drum head in the background
Here are two obscure singles that seem to have been recorded in one session on the same day, apparently March 12, 1965. Both feature the Mockers, and each was released on the Monte-Vista label and numbered 3-12-65.
The first features two surf instrumentals: the atmospheric “Children of the Sun” backed by a first-rate surf-rocker “Madalena” with crunching wet guitar. Both songs were written by David Norgord for Monte-Vista Music BMI.
Dave Norgord of the Mockers, photo courtesy of John Morgan
The Mockers were obviously a very competent group, and may have come from Glendora High School.
The second single has them backing what sounds like a prepubescent lead singer, Chris Parry, on another single written by Dave Norgord, “I Need You Now”. The flip is a cover of “Angela Jones”, written by John Loudermilk (composer of “Tobacco Road”).
A comment from Nancee (Norgord) Vincent, below lists two more names of the Mockers:
Dave Norgord was my brother. Bobby Figueroa was on drums and Jimmy McGrew played bass. Both Bobby and Jimmy became professional musicians. Jimmy passed away October 2918. Dave passed away July 2005. Bobby is still alive and should be easy to find. Chris Parry was quite young, English at a time the “English Invasion” took over pop music.
The producer was Dale Smallin who in 1963 managed the Surfaris’ and brought them to Paul Buff’s PAL studio in Cucamonga to record “Surfer Joe” / “Wipe Out” (Smallin also contributed the maniacal laughter to the opening). Smallin may have lost the Safaris when he and Dot Records brought in the Challengers to record tracks to fill out the album. In any case, the Mockers may have been the only records after the Safaris to feature his name as producer. If there are others, I haven’t found them yet.
Monte Vista Street runs in Highland Park in Los Angeles, not far from the Glendale origin of the Safaris. Smallin would name his film production company Monte-Vista and produced a 28 minute movie show in West Covina, The Day That Sang and Cried in 1968, featuring another band, The West Coast Blues Company. Dave Smallin died on March 1, 2011.
The Rocking Continentals, with Bill Doyle on drums. Photo courtesy of Bill’s daughter Tracy.
The Rockin’ Continentals made two 45s for the Casino label in 1962 or 1963. The group came from Topeka, Kansas.
The original group were:
Johnny Thompson – lead guitar and vocals Melvin Ralston – rhythm guitar Chuck Dumerous – bass Bill Doyle – drums
Rockin’ Continentals and the Fabulous Concepts at Township Hall in Valley Falls, August 10, 1963.The Rockin’ Continentals’ first release was a great rockabilly song with fierce drumming and scorching guitar and piano breaks called “The ‘309’”, written by Johnny Thompson. The singer has a strong southern accent that doesn’t appear on their other songs. The original A-side was “2-3-4”, written by Melvin Ralston, which in comparison is simple riffing on blues changes.
Bill Doyle was 17 when he joined the group, and left the group near the end of 1963, when he married. Chuck Dumerous seems to have left the group around this same time.
The second version of group were:
Johnny Thompson – lead guitar and vocals Melvin Ralston – rhythm guitar Chuck Smith – bass Bob Stanley – drums
The Rockin’ Continentals second and last single was “Cobra 289” written by Ralph Sandmeyer in tribute to the Ford/Shelby AC Cobra sports car first manufactured in 1962. Bob says that “Ralph Sandmeyer was a songwriter and close friend of Johnny Thompson”.
“Count Dracula” is mainly instrumental with a spooky reverbed riff. Like “The ‘309’” it was written by Johnny Thompson.
Bob Stanley wrote to me:
I was the drummer for the Empalas band back in the early 60s. Melvin Ralston, the rhythm guitar player, wanted to know if I would drum for the Rockin’ Continentals. We began playing throughout Kansas for VanT car shows during the day and in the night we would play in their parks or auditoriums. From there we played the Municipal Auditorium in Topeka, Kansas City auditoriums and various other cities.
I am playing drums on “Cobra 289” and “Count Dracula”. My stepfather financed the record and was repaid with the sales. Bob Bobo was the piano player on the record. Bob Bobo was not a member of the band but did guest appearances on the records on piano and recorded the records in his studio. Johnny Thompson played lead guitar and is the vocalist on both songs, Chuck Smith was the bass player. Melvin Ralston is the rhythm guitar player and is the laughing voice on “Count Dracula”.
The girls screaming in the background were girlfriends of the band members. The girls later bleached the band member’s hair. Mine turned out platinum because I was blonde, but Johnny’s turned out orange red, which made him extremely unhappy. It was comical, but not to him.
I did know the Jerms and their lead singer Bill Senogles who was a classmate of mine and later took on my guitar player, Russ Wilcox, from the Empalas when I went to the Rockin’ Continentals.
Bob Stanley left the group for Vietnam. In later years, the Continentals had regular gigs on cruise ships.
The Good Time Trio: Kenny Stone, Johnny Thompson and Bob Stanley
Bob added:
Later on country became popular and Johnny started switching over and we became the Good Time Trio (Johnny Thompson, Kenny Stone on bass and me on drums). I also drummed for Dickie Lee (“Patches”) in Kansas City.
I still have the snare, sticks and drummer’s throne that I played when we recorded the records. At the end of “Cobra 289”, you will hear a drum run and fade out done with single stroke roll with rim shots.
Special thanks to Bob Stanley for contacting me with information on the Rockin’ Continentals.
Both Rockin’ Continental releases have been bootlegged, along with another Casino release, the Argons’ “Do the Dog”.
See my article for more information on the Casino record label. Thank you to Volker Houghton for contributing the Valley Falls show ad.
comparison of original pressing to bootleg reproduction of Casino 1010, the Rockin’ Continentals “Cobra 289”
Gerald Dyche (aka Jerry Dyke) in the Emporia Gazette, February, 1958
The Casino Records label started in 1957 with a single of Jerry Dyke singing two songs written by Bob Bobo and Carl Lewis for Southern Belle, BMI, “Deep Within My Heart” and “My Empty Heart”. That release, Casino 1001/1002 had a gothic style font for Casino and an address on McGavock St. in Nashville, Tennessee.
In a comment on the Rockin’ Continentals page, Jerry Dyke notes that he designed the original Casino label.
An article in the Emporia Gazette from February 1958 discusses how Jerry Dyke was the stage name for Gerald Dyche, a student from Topeka who was singing songs written by Topekan disc jockey Bob Bobo for demos to be sent to Southern Belle publishing in Nashville, which led to the Casino single, presumably recorded in Nashville. Although the article makes something of the Casino Recording Corporation of Nashville, Bob Bobo and Carl Lewis were at least part owners of Casino. They produced the Jerry Dyke single on their own hoping for attention for their song writing.
Bobo seems to have recorded all the Casino records in the basement of his house on SE Ohio Street.
Dyke does not seem to have worked with Bobo after this single. Bobo started working with Ronnie Pearson of Osage City. Pearson’s first single on the Herald Label in April of ’57 included Bob Bobo’s song “Hot Shot”.
Bobo would place other songs in the late ’50s, including “I Close My Eyes” (co-written with Lewis) for the Wilburn Brothers on Decca in August of ’57, “The Answer” and “Warm as Toast” (co-written by Lewis) for Russ Veers on the Trend label, and “Let Me Go to the Hop” (co-written by Russ Veers) by the Sweethearts on Power.
By the early 1960s, Bobo seems to have stopped pursuing a career as a song writer, but kept the Casino label active. I don’t know what Casino 1003/1004 is, but 1005/1006 is the Nubbins doing two standards, “The King’s Highway” / “Stormy Weather” with a different font for the logo and no address.
The Rockin’ Continentals “The ‘309’” from 1962 is numbered 1007/1008. This and all future release feature Kansan artists; there is no longer any Nashville connection that I know of.
Casino 1001/1002 – Jerry Dyke – “Deep Within My Heart” / “My Empty Heart” Casino 1003/1004 – no release (?) Casino 1005/1006 – The Nubbins – “The King’s Highway” / “Stormy Weather” Casino 1007/1008 – The Rockin’ Continentals – “The ‘309’” / “2-3-4” Casino 1009/1010 – The Rockin’ Continentals – “Cobra 284” / “Count Dracula” Casino 1011/1012 – The Argons “Spiked” (Bryson, Myers) / “Do The Dog” (Mikkelsen, Wilcox) 1964 Casino 1321/1322 – The Jerms – “That Word” (G. Senogles) / “Love Light” (Sept. 1965) Casino 2305/2306 – The Thingies – “It’s a Long Way Down” (L. Miller, Dalton) / “Merry Go Round of Life” (August 1966)
One interesting oddity about the Casino discography is that the RCA code for the Jerry Dyke single, HO8W-0066/67 would be adapted for later releases, even though most later releases were not pressed at RCA but at Wakefield Manufacturing in Phoenix, AZ. Another code on the 45s, 2 AFM also increases with each release, though I’m not sure the meaning of that code.
Bobo also owned a restaurant called Bobo’s Drive In in Topeka from 1948 until he passed away sometime in the 1980s. Bobo’s Drive In remained open under that name until recently.
Buddy’s Buddies came from Macon, Georgia, home to Otis Redding and Little Richard, but a town that had relatively little ’60s band action. The Malibus who cut “I Want You to Know” / “I’ve Gotta Go” on PJ came from nearby Fort Valley, GA but that’s about it.
Buddy’s Buddies included:
Buddy Greene – lead vocals David Gory – lead guitar Phillip Parker – rhythm guitar Andy Waits – bass guitar Steve Kent – drums
Early version of the group with Starlight Swingsters drumheadThe Flying Beatles?! An early version of Buddy’s Buddies, from left: Buddy, Steve Kent, Andy Waits and Phillip Parker
Phillip Parker kindly sent in the photos seen here and wrote to me about the group:
Buddy and I began to play ukes together around 1962 or ’63. I remember Buddy calling me one Saturday morning and telling me to come listen to a record his older sister had brought home. We must have played the grooves off Meet the Beatles trying to learn the songs. We began by playing at a local drugstore off Riverside Dr. in Macon.
We then got Steve to play bongos. Andy was a friend of mine who had a guitar so joined and brought with him David Gory who played lead. He had a great sunburst Gibson. Andy wound up playing bass and I played rhythm guitar.
We played at the Macon Auditorium with Herman’s Hermits, the Beau Brummels, Freddie and the Dreamers and the McCoys. We were young, about 10-13 years old.
The article about getting a traffic ticket with Cassius Clay came from the Macon Telegraph. We were on our way to play at the Big Ape radio show in Jacksonville. My family moved to SC in 1966 and I did not return till 1967. I’m not sure how long they played together after I left.
Of course Buddy went on to be a great musician and song writer and I did hear somewhere that Steve played drums. He was a great drummer.
Phillip Parker May 2017
Buddy Greene wrote both sides of their only single. I really like “Tell Me What I See” with its solid back beat and bass line, repetitive piano and Buddy’s shouts of “mercy me!” The flip “I Love My Baby” is a ballad, with a plaintive vocal from Buddy.
The Macon label released Buddy’s Buddies single in July, 1965, published by Macon Music BMI. The only other release on Macon that I know of is Phil Gandy singing “Hula Baby” / “Rainbows End” both by Phil Skelton for Cedarwood Music BMI from circa 1964.
Buddy Greene went on to a long career in music. See his website, www.buddygreene.com for extensive information about his career, including additional photos of Buddy’s Buddies.
Thank you to Phillip Parker for the information and photos on the group. I’m sorry it took me over two years to add these to the post.
Harley Bowers time out…. column had this amazing story:
What A Way To Meet Clay
A group of Maconites, nine to be exact, have something in common with Cassius Clay. They were all stopped by the same Florida highway patrolman at the same time and place last Saturday, and for the same reason – speeding.
It all started as the Maconites, traveling in two cars, were en route to Jacksonville. Five of those riding in the two automobiles were youngsteres 11 to 13 who make up the local singing group known as “Buddy’s Buddies. They were being driven to Jacksonville by Mr. and Mrs. Henry Parker (in one car) and Mr. and Mrs. Junior Waits (in the other car) for a radio appearance.
The young singers included Steve Kent, Buddy Greene, David Gory, Andy Waits and Phillip Parker. As they crossed into Florida, this side of Jasper, the two cars passed a pair of Cadillacs stopped along the side of I-75.
One of hte boys, Any Waits, called out to his father, who was driving the car in which he was riding, that he was sure he had recognized Cassius Clay among the four people standing around the Cadillacs. The elder Waits dismissed the idea and drove on.
A few minutes later the two Cadillacs came flying by the Maconites and young Andy again declared that one of the occupants was the heavyweight champion. Upon the urging of the boy the father set out to catch the speeding Cadillacs just to satisfy everyone’s curiousity as to who was inside.
Patrolman Nabs ‘Em All
Waits flew past the Parker auto and Parker, not knowing what was going on, took out after him. They eventually caught up with the Cadillacs, pulled alongside, and sure enough, there was Clay. About the same time Waits noted in his rear view mirror that a highway patrolman was chasing the whole group.
The patrolman flashed ahead of all four autos, then flagged them down one at a time. He told each driver he could either pay a $25 fine, Waits said, or come back to court. Ali preferred to pay but as Waits started to hand the patrolman his money he made the remark that he was going to have to blame his son for wanting to catch up with Cassius.
Clay, overhearing this, was so impressed he paid half the fines of the Maconites. Then he signed autographs for everybody while one of the men accompanying him took a series of pictures. “I assumed it was one of his press agents,” Waits explained.
Cassius reported to the patrolman that he was en route to Miami to begin training for the Floyd Patterson fight and thank the officer for being so nice. “He was real proud of those Cadillacs,” Waits said.
“In fact, he explained to us that they were the same type of automobiles that President Johnson drives and cost $16,000 each. They were even equipped with telephones. We found Cassius to be real nice and there was none of this loud bragging that you read so much about and see so much of on television.”
mistaken first label with studio owner Vincent Oddo’s name as artist
Bill DeFalco – lead guitar Frank DeFalco – rhythm guitar Jimmy DiGiacomo – bass Joey Erico – drums
Brothers Bill and Frank DeFalco had a previous group called the Rock Monacles with a different drummer, Henry Bauman and vocalist George Malin. In the summer of 1967 the Pebble Episode went to O.D.O. Sound Studio on West 54th Street in Manhattan to record two songs, “Tripsey” (by William DeFalco, Frank DeFalco) and “The Plum Song” (by William DeFalco, Frank DeFalco and James DiGiacomo). Publishing by Mozella Music BMI, and produced by S. & J.
Juggy Murray of Sue Records signed the group to J-2 Records, his new label as Sue was sliding into bankruptcy to be sold to United Artists around 1968.
Artist name corrected, song now spelled “Tripsy”
To compound the problems Murray had with Sue at the time, the first pressing of this 45 was mistakenly labelled with Vincent Oddo’s name, the engineer and owner of the ODO studio where the band recorded, but most definitely not the artist! New labels were printed up with the correct band name, though this time the A-side was spelled “Tripsy”.
“Tripsy” is an apt name for this wild instrumental loaded with echo and repeating riffs that wouldn’t be out of place on The Inner Mystique. By comparison, “The Plum Song” is much more conventional in sound, dominated by Bill DeFalco on organ and Joe Erico’s fine drum fills.
This was the first release on J-2 Records followed by Baby Washington doing “Like a Rolling Stone” (I’d like to hear that version!) b/w “The New Yorker” (J2-1301) and the Poets in-demand soul classic “Wrapped Around Your Finger” / “Can’t Wait Until Tomorrow” (J2-1302).
The Pebble Episode continued until 1972, with home recordings I haven’t heard but no further releases.
More info is in the comments to the Discogs page for the single.
Sorry for the atrocious condition of the labels for this post, but if you have a better high-resolution scan of Tripsy, please send it in.
Early lineup of the King Pins, 1962, showing piano and saxophone
94 Second Surf – first version with girl chorusThe King Pins came from Sandia High School in Albuquerque, New Mexico. Though they recorded in 1965, they were an instrumental group, not at all ‘garage’ but I dig this record.
Members were:
Steve Maase – lead guitar Gary Shouse – rhythm guitar Rob Cardin – bass Larry Kuck -drums
In August 1965 they released a 45 “Rod Hot Rod” / “94 Second Surf” on Larse 101, recorded at Norman Petty’s studio in Clovis, NM. The group’s manager Bill Sego, a DJ on KCLV in Clovis, wrote the top side “Rod Hot Rod”. This song has its fans but Steve Maase’s original “94 Second Surf” commands the most attention nowadays.
MGM picked up the single for a national release in November 1965. “94 Second Surf” is retitled “Door Banger” on the MGM 45, but there is a difference. The Larse single features a female vocal chorus on both sides, while the MGM leaves it off completely on “Door Banger” and cuts the vocal intro on “Rod Hot Rod” but keeps the rest of the vocals.
Larse was Bill Sego’s label but I don’t know of any other releases on it. Prior to managing he had his own single on the Nor-Va-Jak label “Down From The Clouds” / “Come Along Dolly”. When he ran for the New Mexico Senate he reissued “Doorbanger” on the flip side of a campaign message with the motto “We Go Sego” on the labels and sleeves.
Steve Maase joined Lindy Blaskey and the LaVells, playing the wicked lead on their Space single “Papa-Oom-Mow-Mow” (on the flip, “Would You Believe” Lindy shouts out “Hey Steve, would you believe …” after the guitar break), and on “You Ain’t Tuff” / “Let It Be”. In the early ’70s, Steve formed a band called Tala, and then played with Linda Cotton and Sparxx, among others, while composing his own music and becoming a well-respected music teacher. Steve Maase passed away on October 1, 2016.
Thank you to Lily Maase for sending in the photo of the King Pins and for informing me about her father’s career after the King Pins.
King Pins, January 1964Announcement of King Pins signing with MGM, November 23 1965
Eric & the Chessmen Kama picture sleeve L-R; Freddie Faccioli, Eric Thorngren, Dale Rider and Slivers Matrassi
Eric and the Chessmen were a well-known group from Utica, New York. They toured throughout upstate New York and into Vermont, and even had a stand at the Peppermint Lounge in New York City. They released only one single: the original song “You Don’t Want My Loving” by the band’s leader, Eric Thorngren, backed with a rocked-up version of “Blue Skies”, on Kama Records 777.
The band’s membership changed many times, so I’ll list some of the lineups below to the best of what I can gather:
Eric and the Chessmen at the Evening Inn, Colliersville, June, 1965
As simply the Chessmen, the original lineup consisted of:
Eric Thorngren – guitar Tony Frontera – saxophone Jon Hynes – bass Butch DeAngelo – drums
By March 1965 the band consisted of:
Eric Thorngren – guitar & vocals Norm Knapp – guitar Dale Rider – bass Wayne Bohling – drums
Eric and the Chessmen Five Flys Club, Bennington, October 1966
When Norm Knapp took a leave of absence in 1965, Chuck Schoenley became the band’s first keyboardist:
Eric Thorngren – guitar & vocals Chuck Schoenley – organ Dale Rider – bass Wayne Bohling – drums
After Chuck Schoenley left the group to join the Rogues, Frankie Convertino became the keyboard player, then Fred Faccioli.
Slivers Matrassi replaced Wayne Bowling on drums by early or mid-1966.
The band featured on the picture sleeve to their 45 and probably on the recording is:
Freddie Faccioli – organ Eric Thorngren – guitar & vocals Dale Rider – bass Slivers Matrassi – drums
The sleeve at the top of this post seems to be very rare. The labels note “Recorded at Chadwicks Recording Studio, Chadwicks, NY”. For more on the Kama and related labels like Krishna and Sutra, see the final section of my post on the Roosters.
The band had other recordings that weren’t released at the time. An atmospheric instrumental featuring organ and a reserved guitar solo called “Too Much” appeared on The Best of Twist-a-Rama: Crude 1965 Garage Sounds from the Mohawk Valley. There are also demos of “Wooly Bully”, “New Orleans” and “Heat Wave”.
The Chessmen continued in different forms into the late 1960s, eventually without any original members. Sometime in 1967 or 1968 Ted Alexander replaced Freddie Faccioli. Dale Rider left to join the Rochester group the Oxford Watchband – a group by that name had a 45 in 1969 on the Hand label, “Diagnosis (One Way Empty and Down)” / “Welcome to the World”.
Eric Thorngren joined the Brass Buttons and went on to a long career as a recording and mixing engineer.
I found this info on the band at the forum After Bebop a Lula: Utica Bands 50s 60s. There are many photos of the band in that thread, see these pages for some of them:
The Majestic Five have this one obscure single on Santa Records out of Phoenix, Arizona in 1965.
The A-side, “Jerk Like Me” is a cover of Rudy Gonzalez & the Reno Bops “Do the Jerk Like Me”. The drummer lays down a rock-solid beat up front in the recording, while the rest of the group sounds somewhat distant. The singer does a good job but the record has a sparse sound.
The Majestic Five in Albuquerque, September 1965
The flip is a ballad, “Queen of Fools” written by Saenz and Escobedo who were members of the Majestic Five. Santa Records was located at 506 W. Cocopah in Phoenix, I haven’t seen any other releases on this label.
According to a comment below by Joseph Saenz, members included:
Albert Escobedo – guitar Benny Dimas – rhythm guitar Joe Saenz – keyboards Arturo Borquez – bass Albert Rodriguez – drums Jerry Cruz – vocalist
In June of ’65 I find several ads for their week-long engagements as the Majestics 5 at the Can Can on 3rd St. and E. Roosevelt in Phoenix and then in September at the Grand Canyon Bar and Lounge at 119 4th NW at Copper in Albuquerque, but no mentions of the group after that. Joseph Saenz explains in a comment below that the group relocated to Los Angeles for a number of years.
Majestic Four, March 28, 1968
Tedd Thomey’s In Person column from the Long Beach Independent / Press-Telegram on June 27, 1968 profiled the Majestic 4 during their time in California:
… the best-liked band ever to appear at the Purple Bunny, 11311 Imperial Highway, Norwalk …
The Majestic 4 are lead guitarist Albert Cardoza, 25, born near Albuquerque, N.M.; bass guitarist Arthur Borquez, 23, of Nogalez, Ariz.; drummer Albert Rodriguez, 23, of Tamalpais, Mexico, and organist Joe Saenz, of Globe, Ariz.
By the time they were teen-agers, the two Alberts, Arthur and Joe were all living in Phoenix …
In 1965, a “battle of the bands” was held at the Phoenix fairgrounds featuring Sonny and Cher. Thirty-five bands, amateurs and pros, competed for prizes, including an electronic organ. The Majestic 5 decided to enter, hoping to win the organ for one of their singers, Joe, who lacked an instrument. During the contest, they played their theme song, “Hello, Everybody,” which they wrote …
When the judges announced that they had won, the boys were so astounded and overjoyed that they could hardly speak. They had their choice of the organ or a recording contract with VeeJay Records. They chose the organ. It was a good decision, because the recording company decided to sign them anyway. Through no fault of the band’s, the recording deal later fell through, largely because of legal complications.
The Majestic Four and Mary-Lee Whitney opening for Brook Benton, Cannonball Adderly, Carmen McRae, Richard Pryor, and Sam Fletcher, Shrine Auditorium, March 19, 1967… Then the group decided to come to California. They dropped one musician … and changed their name to the Majestic 4.
Joe, their spokesman, walked up to Stan Rossi, owner of the Purple Bunny, handed him the band’s business card and asked politely: “Sir, we’d like to play for you tonight while your regular band is on its rest break.” Rossi agreed. The Majestic 4 made such a hit with the crowd that Rossi hired them on the spot. They started work three weeks later and stayed eight months. Last April, after playing at clubs in Nevada and elsewhere in California, they returned for another smash engagement at the Bunny.
Majestic Four and Mary Lee Whitney, Long Beach Independent, June 27, 1968
… Their star singer, Mary Lee Whitney, is another natural …
Born in Portland, Ore., she sang for seven years with a Baptist Church choir … She was the seventh of the nine children in her family. An older brother, Jimmy, a singer who had his own band, inspired her to become a professional.
Ad for the Majestic 4, Mary Lee Whitney, and the Shirell’s (Shirelles?) at the Purple Bunny, June 1968She became so good that a church friend, Henry Moore, asked her to join his professional group, the Harlequins. She came to California with them in 1966 and sang with them at the Purple Bunny and elsewhere.
Mary Lee Whitney released one 45 in 1966 on Loma 2044, “Don’t Come a’Knockin'” (produced and arranged by Bobby Paris with Doug Best, supervised by Russ Regan) / “This Could Have Been Mine” (produced by Larry Shayne).
As Mary Lee Whitney Evans, she sang backing vocals to three Stevie Wonder songs on Songs in the Key of Life and Hotter than July.
Thank you to Francisco Candia for sending me the clippings of the Majestic Four’s time in California.
I can’t find out much about the Specktrum. The band may have been from Cranston, Rhode Island but I’ve also seen them listed as from Abington, Massachusetts, which is south of Boston and an hour away from Cranston.
In February, 1967 they put out a single on Somethin’ Groovy Records SG-500 featuring two originals by the band, “Confetti” by R. Moore, K. Jeremiah and “I Was A Fool” by R. Schmeisser, K. Jeremiah. Publishing was through Exciting Music BMI but I can’t find anything in BMI’s database on these two songs or the writers.
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 Atlanta Vibrations have the first single on the short-lived Sim-Cor label out of Atlanta, Georgia. “If You Let Me Love You” / “My Hometown”.
I haven’t found out much about the band yet, except that they had a spot opening for the Beatles during their 1965 tour. The band continued with a different lineup into the late ’60s.
