(probably incomplete – any help with this would be appreciated)
MBM 8019 – Ann Allen – “What Do You Want of Me” / “I Don’t Want Your Love” (with PS)
MBM 8020 – The Blondells – “Rocking My Blues Away” (Taylor, Starland Music BMI) / Mona Taylor and the Blondells – “No One Will Ever Know” CP-5501/2, Rite pressing from 1961.
MBM-2001 – Jimmy Ferguson with the Flares Band and the Tom Boys (vocalists) – “The Ballad of Tom Sawyer” / “Cupid” (both by Ferguson – Ferguson, Double “M” Pub. Co. BMI) SoN 9521/2
MBM-2002 – The Rouges – “Put You Down” (Kendrick & Gainer) / “Stormy Monday” SoN 29801
MBM-2003 – The Road Runners “Do You Love Me Sixty Six Style” / “To Be With You” (Gilliland) from Gadsden, AL, SoN 29812.
The Ann Allen sleeve has “MBM Records, Miami-Los Angeles” on the PS, and a managerial address:
Birmingham Artist Playhouse Agency 5017 Avenue “N”, West Birmingham 8, Alabama
Birmginham’s Reed label usually published through Double “M” Music, but had a handful of later releases in 1961 that instead used Starland Music (and a different logo typeface):
RR 1061 – Larry & the Loafers “Panama City Blues” / “Till the End” RR 1063 – Webb Robbins And The Jackets “Take This Ring” / “Why Was I Blue” RR 1064 – Mason Dixon – “Queen Of My Heartaches” / “Hello Memphis”
Thank you to Tapio Väisänen and Niculò Conrad for their help with this discography.
Here’s an obscure Century Custom pressing by Chuck Edwards and the Apaches with a mix of garage and earlier rock styles that I like. “She Let Me Go” has gravelly vocals (credited to Tony and Eddie) over a great band that features good drum fills, a deep bass line and nice guitar work, plus a saxophone to tie it to the old styles.
The flip, “Lonely Apache” (written by Tony III) is a good, low-key instrumental. I don’t know any names other than what’s on the labels.
Released on Ludo Records 19796, I’m not sure of the date. The labels read “Recorded for Ludo Records by Century Custom Recording, Montgomery 6, Alabama 36106”.
Chuck Edwards wrote and produced “Dance Little Girl, Dance”- I believe he’s singing on it too – released as the Reactions on Ludo 001 b/w “Daddy’s Home” which I haven’t heard. I presume the Reactions single predates “She Let Me Go” by a year or so.
“The Weed” is the first single cut by Steve Purdy & the Studs, a group from the Homewood and Vestavia Hills suburbs of Birmingham, Alabama. A tribute to tobacco with a sound like “Money”, its title and lyrics like “I need a pack of weeds that costs 15 cents” and “I wish somebody would give me a seed, that would grow me an instant weed, an instant weed would be mighty fine … give me a weed” made it into a cult favorite.
Steve Purdy and Vic Rumore share the lead vocals on “The Weed”, Rumore may have been related to Joe Rumore, a popular DJ on WVOK and owner of Rumore’s Record Rack; and his brother Angelo “Duke” Rumore, Birmingham DJ and impressario.
The flip of “The Weed” is “Hyannis Port Twist” which helps date this single to 1963 or earlier, along with the Southern Plastics code of SO 1292. The label was Vesta Records 200, located was 3106 Roxbury Road in Birmingham.
Besides Purdy and Rumore, the Studs included:
Jimmy Sullivan – lead guitar Brooke Temple – rhythm guitar Norman Hamm – bass Billy McConnell or Steve Davis – drums
For their second 45, they cut two more Purdy originals, “I Cried (The Night You Said Goodbye)” with a sound close to rockabilly and “Johnny’s Steady”, more of a teen side but with an interesting Leslie effect on the brief guitar solo.
Does anyone have a photo of the group?
Purdy wrote all four of the songs, publishing through Vestavia Publishing Co. BMI. As far as I know these were the only two releases on the Birmingham Vesta label. There was another Vesta Records from Syracuse, NY with doo-wop releases by the Rhythm Cadets and the Eldoras.
Southern Plastics in Nashville pressed both singles, “The Weed” has SO 1292/3 while “I Cried” is SO 1398/9, which should help give exact release dates if anyone has compiled those codes.
Sources: the Alabama Record Collectors Association has a short post on Facebook about Steve Purdy and the Studs. Info about Joe Rumore from JoeRumore.net.
Recently I picked up two singles on the Channel “1” label, by the Eyes of Reality and the Systems. The label intrigued me for the 7-B distribution listed at the bottom, as 7-B, or Seven B, was a great New Orleans funk label owned by Joe Banashak.
I quickly realized these were not New Orleans productions, but instead came out of the Mobile, Alabama studio of Sax Kari, who wrote, produced and/or sang on each of these.
The first single on Channel “1” was the Eyes of Reality doing a laid-back funky come-on, “What You Waitin’ On Girl”. The flip is the even more mellow ballad, “Goin’ Back”. I’m not sure who was playing in the Eyes of Reality, but Saxton Kari wrote and sang both sides.
Next comes what sounds like a real band, the Systems, doing an original by Doug Previto, “How High Is High”. I presume Doug was a member of the group. The flip is “Where Did I Go” a song by Carson and Tim Whitsett. Tim Whitsett led the Imperial Showband with Tommy Tate, who cut the definitive version of this song for Musicor.
Francine King cut the third Channel “1” single, “Two Fools” a spare funk vocal that has its fans.
I haven’t heard the next Systems single, the intriguingly-titled Sax Kari composition “The Story of My Hair” b/w another Doug Previto song, “Oh How I Wish”. The group’s name is listed as simply the System, singular, and the label has a new design. The label name was spelled Channel One for COR-711 and COR-712.
The last single on the label is another one I haven’t heard, Simon Birk’s “Babbalulla”.
Channel “1” Records discography
COR-701 – Eyes of Reality – “Goin’ Back” / “What You Waitin’ On Girl” (PRP 10771/2) COR-702 – The Systems – “Where Did I Go” (Carson Whitsett, Tim Whitsett for Whitsett Bros Music/Catalogue Music BMI) / “How High Is High” (Douglas Dwight Previto, Kari Music BMI) “A Gulf Coast Production” COR-703 – Francine King – “The Grapevine Can’t Tell You” / “Two Fools” (PRP 11471/2) COR-704 – The System – “The Story Of My Hair” (Sax Kari) / “Oh How I Wish” (Douglas Dwight Previto)(PRP 13911/2, )
COR-711 – Francine King – “Dirty Man” (Bobby Miller) / “Yo Yo” COR-712 – Dirty Red Morgan Group – “Your Chicken Ain’t Funky Like Mine” / “Finger Lickin’, Funky Chicken”
COR-720412 – Simon Birk – “Babbalulla” (J. Simmons, Channel One Music) / “Love Never” (PRP-38351/2) COR-770518 – Benny Watson – “Sunday Afternoon In Memphis” / “Going Down for the Third Time” (both by Jerry Powell, released 1977)
Unless indicated otherwise, all songs written by Sax Kari and published by Tune-Kel and/or Kari Music BMI.
Thank you to Peter for pointing out a few unknown to me, and to Gordon Dodson of the Barons from Ozark for the scan of the Francine King single.
Rhythm guitarist David Duke of the Jerks wrote to me about the group and sent in the photos seen here:
The Jerks were a Birmingham, Alabama band formed in the mid 60’s. The band members were:
Larry Gardner – drums Mike Ellis – lead guitar & vocals David Duke – rhythm guitar Dennis Wilkey – bass guitar Steve Fletcher – keyboards
The members came from three high schools in the East Birmingham area: Woodlawn – Steve & Larry; Banks – David & Dennis; and Mike from Erwin.
In early 1966 the Jerks recorded a record on the Vaughn-Ltd label at Ed Boutwell’s early recording studio located in a vacated church at 1st Ave North and 35th Street. The main side was “I’m Leavin’ You” with the back side a slower song “Don’t Make Me Sorry” both written by Mike Ellis. “I’m Leavin’ You” was later published in the #5 spot on Psychedelic States – Alabama in the ’60s Vol.1 (Gear Fab) and is still available on CD.
The last addition to the band was Steve Fletcher on keyboards. The band gained popularity playing at Calico Corner, where many top chart artists performed, along with numerous Armories and high school dances throughout central Alabama. The Jerks were also winners of the Phipps Piano Co., VOX Battle of the Bands contest. The Jerks were popularly seen in their black leather outfits influenced by the British groups. The Jerks opened up for The McCoys concert in Birmingham.
The Jerks gained early popularity in the summer of ‘65 as a big part of the Pizitz Department Store Fashion Shows in downtown Birmingham. The Jerks also performed for a publicity party with Beach Party movie stars Debby Walley and John Ashley at the premiere showing of their new movie.
During this time the band was offered to go on tour throughout the US by Warren “Billy” Wilson, promoter and agent, but declined due to the young age of the members. (Our parents had the upper hand on this decision!)
The band broke up in ’67. Dennis and Mike continued on professionally in the music industry with several other successful bands. We believe Steve continued in his family-owned business. Larry after graduating from Jacksonville State University became a successful business owner of a large nationwide window blind manufacturing and sales company based in the Birmingham area.
David joined the Alabama Air Guard for six years, pursued college and after 45 years as a Sr. Acct Sales Mgr in the industrial gases industry retired in 2015.
Over those years I played with several new bands in the 80’s and 90’s doing a 50’s-60’s-70’s music review. I still keep my collection of guitars close by to play those classic old songs of great days.
David Duke
I asked David some follow-up questions about the group:
Q. How did the band choose The Jerks for a name?
Not absolutely sure, but the song “The Cool Jerk” performed by the Capitals was released about that time along with a dance by that name and I believe that is where we heard it. I’ve been asked many times and that was all I could come up with. But we did find it to be well received and well remembered for many years after, even today.
I’m playing a Fender Jaguar that my father brought home and surprised me with. It was a Daphne Blue and never saw another one like it anywhere. I was very popular just from that. I think if I had kept I might have been able to retire earlier. Around the time I either went or came back from boot camp I sold it. Mike Ellis played the Fender Mustang.
Q. Did the single get local radio play?
We did get local radio play. WSGN was the most and several of the DJ really got close to us and helped us a lot.
Q. Was the east Birmingham scene distinct from other parts of town or did bands play all over?
Most all the bands in the Birmingham area played all over including cities outside of Birmingham. Birmingham being a large city was a hub for popular bands. I was very close with many other groups during this time. I was influenced by some friends in elementary school that had a band and my friend played the drums. I would listen to them around ’62 or ’63 playing many of the Ventures guitar songs. That’s when I really decided that was what I wanted to do and play. In later years that group became the Rockin’ Rebellions which became popular throughout the south.
Some of the guys I played with in early years ended up in the Daze of the Week another popular group with records. I was close and went to high school with one from the Distortions, also I was close friends with the Vikings.
I haven’t talked to any of the other Jerks band members in a while. Larry Gardner I talked to about two years ago.
It took me a few years, then I got the bug from a friend I grew up with that had his band called the Esquires. We started a band together in the early ’90s and played several gigs but had a hard time keeping or finding good members. I always said I wanted to get with him again and see if we could start another band since we were both getting close to retiring. He died of a heart attack two years ago (Terry Mathews – bottom left). I guess that is why I’m really pushing myself to have some fun while I can.
Lord Byron & the Poets did not release any records but did record a session at Ed Boutwell Studios like many other Birmingham area bands. Members were:
Chip Woody – lead singer Ed Balog – lead guitar Eddie Robinson – rhythm guitar Jim Lacefield – bass and vocals Danny Saxon – drums and vocals John Wheatley III – drums
Drummer John Wheatley sent photos of the band and answered my questions about the band:
We had a great band and were well received wherever we played gigs. Our band was very unique in that we had two drummers. Our singer, Chip Woody, looked a lot like Mick Jagger and was very talented at singing Rolling Stones songs, so we did plenty of them along with the usual list of current favorite rock songs.
Several of the band members were very creative and wrote quite a few songs during my time with them in the 65/66 school year.
I have a few pictures from a “freebie” we did at Canterbury Methodist Church in Mountain Brook, AL for a benefit event. My family were members at the church for many, many years.
The one other picture I have is a promotional picture made at Phipps Piano Company in Birmingham that is connected with our band’s purchase of a large amount of Vox sound equipment to amplify all of the guitars and all of the singers.
We had a really nice Vox PA system with two “sound columns” and amplifier. The lead guitar player (Ed Balog) played a Gretsch Country Gentleman gold plated guitar through a Vox Royal Guardsman amplifier accompanied by a Vox reverb unit, that actually recorded the initial sound on an audio tape and then replayed it in diminishing volume levels as the tape passed through a successive series of tape heads that progressively erased more and more of the original sound as the tape completed it’s circuit while continuously recording and playing each new audio sound on the same tape … absolutely amazing to watch it operate with the cover off of the tape component area.
The bass player also had a brand new deluxe model of a bass amplifier that had its own hand truck type of chrome rack on wheels and sounded amazing for sure. I’m not sure what amplifier Eddie used, but he probably plugged into Ed’s equipment sometimes and I think he had a classic Fender amp that he used some of the time.
We were “recruited” at one point during that tenure by a man representing himself to be a talent scout from RCA in Nashville and he had us to meet him on a weekend at the new Mountain Brook High School where we set up in a sunken carpeted area and he used an reel to reel tape recorder to tape all of the original songs that our group had to offer at that time. He kept in touch with the Balogs for some while, promising this and that. That’s about all that ever came of it, except that one of our songs came out as a hit record titled “Hey Little Girl” with only very minor changes to our original version and it did quite well on the charts and got loads of airplay. The band members that wrote the song felt ripped off but there was little they could do about it.
At another point, we did a recording session at Boutwell Studios in Birmingham and recorded several songs, including one entitled “Mister You’re A Better Man Than I” performed by Danny Saxon for our group. During my efforts to re-connect with our original band members recently, I learned that the bass player, Jim Lacefield, still had the original reel to reel tapes from that Boutwell recording session, but had never done anything with them since 1966. One thing led to another and he was kind enough to ship them to me and I am in the process of getting them transferred so that all of our band members can enjoy and share them as they see fit when the project is finished. It will be interesting to hear the music on the tapes and re-experience those magical moments from 50 years ago surrounded by our current families.
We never actually made any records during my tenure with the band and the group essentially dissolved at the end of the school year as all members were heading off to college, etc … similar to the Ramblers and many other groups of that era.
Our lead guitar player, Ed Balog, was only 14 at the time while most of the rest of us were seniors in high school, but Ed was an extremely talented musician who had been playing the guitar daily since age 8 and was a child prodigy for sure. We practiced every day at the Balog house. When I tried to re-connect in recent years I was saddened to learn he had passed away after a legendary career as a musician in the greater Birmingham area.
I finally located the other drummer / singer, Danny Saxon, who lives out west in a beautiful part of the Great Rocky Mountains and is very happy doing wood work along with pursuing his current hobby of singing and playing music on a frequent basis.
Jim Lacefield was our excellent bass player / singer and I reached him in recent times to learn that he had continued his musical endeavors, shifting over to a really interesting and successful string of performances for many years singing and playing acoustic guitar in a variety of venues throughout the southeast. Jim lives near Tuscumbia now.
Eddie Robinson, Johnny Robinson’s younger brother, played rhythm guitar with our group and I understand that he is alive and well in the Birmingham area these days, but I haven’t actually spoken with him since 1966.
Chip Woody (lead singer) and Danny Saxon (drummer / vocals) both went to the University of Montevallo and seem to still be active in music now, although Danny lives out west in the Rocky Mountains and has switched from drums to guitar a long time ago. Chip Woody was last known to be living in Palm Springs, California about 15 years ago.
Jim Lacefield was very active in music for several years after Lord Byron and the Poets, often working with well known music acts and also doing his own one man shows in small clubs in the southeast. He later got heavy into geology and became a leading professor on the subject and has written several highly acclaimed books on geology in Alabama. He and his wife now own and operate a “preserve” park near Tuscumbia where they conduct tours and he does public speaking on such matters all over the state.
I have continued to be pretty active as a drummer in a variety of bands in the greater Montgomery area since moving here in 1972 and really enjoy pursuing those opportunities now during retirement from my “day job”.
It would be really great to reunite the band, but would be very difficult due to the geographical locations of the surviving members after nearly 50 years of being apart but I would love to see it happen.
John Wheatley, 2015
Jim Lacefield added:
I remembered that gig we played one cold Friday night in January or February of 1966 at the National Guard armory in Decatur. Our gig was cut short by a snowstorm that night, and we had to make the harrowing drive back to Birmingham in the snow. What an adventure!
After the band dis-banded in the summer of 1966 I went on to school at the University that fall. During the time I played bass with the Poets I had started getting interested in playing 12-string guitar and folk rock style music. I was just picking up the 12-string while in the Poets (you might remember I had a blue-green Vox 12-string that Ed used on some songs we played like “Gloria” and “Time Won’t Let Me”). I never got great on the 12-string, but was quite passable, and I enjoyed playing in some small bands at the University. Down there at the time everyone wanted to play “soul music” because that’s where the money was, playing for fraternity and sorority parties. I didn’t care that much for that type music played for drunks, so I shifted over to playing regular 6-string acoustic folk music with a harmonica in a holder (like Dylan and Donovan). During the summer of 1967 I went down to New Orleans and had a chance meeting with some other musicians, poets, and artists who I got in close with. I played some little coffee house style clubs down in the French Quarter that summer and liked the town a lot. New Orleans became my home during the part of the year I wasn’t in Tuscaloosa going to school.
Back in Tuscaloosa I played a little coffee house on campus called the “Down Under” several times, and met my future wife Faye there one night at a folk/blues gig I was playing with a friend. I also played a gig with the great blues man Johnny Shines right as he was making a career comeback playing before young, white audiences.
There was a 60 second or so film of me playing at an anti-war rally in front of a huge crowd at Denny Chimes on the University campus that had originally aired on national TV in October, 1969 on the old Huntley-Brinkley NBC Nightly News program. They were doing a feature on the NBC evening news on how opposition to the war was affecting college campuses, even in the South. The film was taken on October 15th, 1969 and in front of the crowd of students surrounded by FBI agents and policemen. I mention this because a tape of that anti-war mini-concert at Denny Chimes appears on Alabama Public Television whenever they have a show about the 1960s in Alabama.
I got married in the summer of 1970 and did two years of civilian service as a conscientious objector in the waning days of the Viet Nam war. I went on to be a science teacher, and later a college biology and earth science teacher, but never played music professionally after college.
I have had almost no contact with any other member of the Poets since 1966. I did run into Ed at a Jimi Hendrix concert at the University in 1969, but got to talk with him just briefly. I saw Danny Saxon once during the mid-1980s and did get to talk to him for a few minutes. I still have some reel-to-reel tapes of our Poets recording sessions, but have never had the right type machine to play them. I remember we did “Route 66” in Stones fashion and “Mister You’re a Better Man Than I” by the Yardbirds (which Danny sang the lead on) during the session.
Faye and I have lived for the past 30 years out in the country near Tuscumbia where we have gathered together some 500 acres of land through the years. We have established a nature preserve that consists of some nice canyon land, waterfalls, boulder fields, etc. that we have open to the public for hiking and recreation. I have no trouble staying busy, even though I have been retired from teaching for several years. Several years ago I wrote a book on the geologic history of Alabama called “Lost Worlds in Alabama Rocks; A Guide to the State’s Ancient Life and Landscapes.” The book has done well, and is in its 5th printing. It has been used in geology classes at nine universities, but is getting a little out-of-date. Right now I’m working on the second edition of the book, which I hope will be to print some time in the next year.
Morgan Records had its base in Montgomery, Alabama. Some artists, like the Rockin’ Gibraltars recorded at Cloverland Studio in Montgomery. Publishing was often with Granny Music BMI.
Morgan discography (incomplete – any help with this would be appreciated)
Morgan 674H-3947 – Kavaliers – “Get Your Feet Off Me” / “If You Loved Her” (SK4M-3947/8) (November 1965) Morgan 5965 – Doug Hughes – “Reno Blues” (Mitchell Bush, Granny Music BMI) / “Two People I Know” (SK4M-5966) Morgan HR 9018 – Charlena & the Rockettes – “Ramrod” / “Last Night” Morgan HV-9026 – Joe & Harold – “Rag Mop” / “That’s What’s the Matter with Me” Morgan HV-9040 – Rockin’ Gibraltars – “Go With Me” (S. Grier, K. Brewer) / “Signed, Sealed and Delivered” (TK4M-2418/9) 1966 Morgan HV-9041 – The Mustangs – “Hitch Hike” / “Daddy’s Home” (T4KM-5005/6) 1966 Morgan HV-9044 – The Bankrupts, vocal Jimmy Wood – “Bankrupt” (J. Segrest) / “Why Can’t I Change” (T4KM-5107) Morgan HV-9049 – Fabulous Checkmates – “Safari ‘Jungle Trip'” (Bush, Jones, Helms, Windham, Dean) / “My Sin and My Pride” (TK4M-5243/4) Morgan HV-9059/9053 – Kavaliers – “Hot Cha” (Woods) / “Hey Baby” (TK4M-9707/8) (1966) Morgan HV-9060 – The Seeds of Time – “She’s Been Travelin’ ‘Round the World” / “Gina” (TK4M-9674/5)
The Kavaliers were Wayne Neuendorf, Jack Boutwell, Mike Morris, Larry Hughes, Tim Nix and Mike Walters.
Thanks to Gary Wise and Max Waller for help with the discography.
One of many groups called the Illusions, this group cut only one 45 featuring the great “Shadows of You” by D. Gillon, which was originally the B-side. The A-side is the more pop “Rain, Shine, or Snow” by J. Dougherty.
Members were Jim Posey – lead vocals, Robert Thames – lead guitar and vocals, David Gillon – rhythm guitar and vocals, Joe Dougherty – bass guitar and vocals and Paul Morrow – drums and vocals. The band had an earlier 45 under Jim Posey’s name, a version of “Double Shot (of My Baby’s Love)” b/w “That Boy” on Bahama Records out of Florence, Alabama.
United Recording and Production was incorporated in Birmingham, Alabama on May 20, 1968. The Chantain BMI credit doesn’t show up in BMI’s current database. Although it looks something like a Rite pressing, it is not, with etched deadwax simply “L-193-1/2”. Maybe someone can comment with the likely pressing plant for this record.
Chantain had at least three other releases, a soul 45 by Roy Smith “Don’t Go Away” (R. Smith, B. Walker) / “The Pain Lingers On” (Chantain CH-0014, reissued on Ascot AS 2239), the Regular Size doing a ballad called “Down In Texas” b/w “Richmond”, and a release by Jerry Woodward.
Thank you to Max Waller for information on the band.
Rodney Dodson – lead vocals / rhythm guitar Gordon Dodson – lead guitar / vocals Bill Saunders – bass guitar / vocals Coley Sullivan – drums John Runkle – organ Billy Scott – lead vocals
The Barons, formerly The Coachmen, from Ozark, Alabama, were formed in 1964 by guitarist Gordon Dodson and bassist Bill Saunders. The Coachmen soon added school friends guitarist Ron Sims, vocalist Paul Williams, and drummer, Steve Folmar.
By early 1965, The Coachmen were playing the popular Opp, Alabama Teen Club known as Granny’s and the Ft. Rucker, Alabama Teen Club. 1965 also saw the first change of band members. James Childers replaced Steve Folmar on drums and Billy Scott replaced Paul Williams on vocals.
1966 saw additional member changes as Coley Sullivan replaced drummer James Childers. Rodney Dodson, Gordon’s brother, replaced guitarist Ron Sims. John Runkle was added as the organist.
The Coachmen were renamed The Barons. The Barons played local teen clubs and recreation centers, as well as the Officers and Enlisted Clubs at Fort Rucker, Alabama and several fraternity parties at Troy State University.
During the summer of 1966, The Barons recorded their only single 45rpm record at WOOF Radio Station in Dothan, Alabama. “I’m The One Who Cares” and “I Needed You”, were written and sung by The Barons’ lead singer, Rodney Dodson with his brother Gordon singing harmony. Bassist Bill Saunders, composed the keyboard introduction and lead break on “I’m The One Who Cares”.
The recording was done with one microphone hanging in the center of a sound proof room using a two track reel to reel recorder; no overdubs. The recording “engineer” unfortunately kept the recording level in the red, distorting the overall sound quality. The high volume playbacks sounded good in the studio, so the master tape was sent to the pressing company. Because of limited funds, only 250 records were pressed. The label name, Red Wave, was taken from the local Troy State University Trojans football team, which was known at that time as, The Red Wave. The record sleeve was a stock light brown paper.
John Belcher and Jerry Williams of Ozark distributed the record through John’s dad’s appliance and record store. The record was also placed on a few local jukeboxes. Although the record received a fair amount of play from the jukebox distribution, it was seldom heard on radio due to the poor sound quality. The Barons disband near the end of 1967 due to the Vietnam war. All Baron members served in the military with three serving in Vietnam. The remaining boxes of records, were unfortunately, used as clay pigeon substitutes during an afternoon of target practice by the two Dodson brothers and their older brother, Claude.
Baron members known to have stayed musically active are:
Rodney Dodson was the founding member of the popular 1980’s southeast Alabama band, The Fairlanes. A school teacher by trade, Rodney once invited his friend and fellow musician, Sara Evans, to perform at his school. Rodney put together a small group of musicians, including himself, brother Gordon, and sister Celia to accompany Sara. Sara went on to become the 2005 Academy of Country Music’s Female Vocalist of the Year.
Gordon Dodson played guitar with the late 1970’s southeast Alabama band, Kingfish, which included notable saxophonist, Jay Scott. (Jay played the saxophone on Lynard Skynard’s recording of “What’s Your Name”, as well as Alicia Bridges, “I Like The Night Life”.) Gordon is listed in the Alabama Steel Guitar Hall of Fame as the 2010 recipient of the Bill Simmons Horizon Award. Gordon taught guitar in the southeast Alabama Junior College system for many years.
Coley Sullivan played drums with the early 1960’s instrumental combo, The Ecstatics, one of Ozark, Alabama’s first rock and roll bands. The Ecstatics, also included lead guitar player, Ron Hilburn, who eventually became the lead guitarist for the 1960’s band, The Chains, referred to as, The Beatles of El Paso. The Chains are known for their version of “I Ain’t Gonna Eat My Heart Out Any More”. Coley also played briefly in the 1960’s popular southeast Alabama bands, The Webs, The Puppets, The K- Otics and The Disciples of Blue from Panama City, Florida.
Johnny Christian, friend and fellow musician, though not a member of the Barons, played the woodblocks on “I’m The One Who Cares”. Johnny retired as Band Director from Dothan, Alabama’s, Northview High School. His son, Wynn Christian, guitarist and vocalist of the popular blues band, Spoonful James, composed “Seven Mile Breakdown”, recorded by the 2006 American Idol Winner, Taylor Hicks.
Someone I know is looking for this 45 by the Grains of Time on the Chyme label (if anyone has a copy for sale please get in touch). I realized I haven’t seen any detailed info on the band, so I’m posting here looking for their story.
TeenBeat Mayhem gives the release date as May of 1968, and the band coming from Albertville, Alabama, a small city near Guntersville Lake, northeast of Birmingham.Johnny Striplin (J. M. Striplin) wrote the fine “No Matter What They Say”.The flip, “This Little Girl” is equally good and has a great overdriven solo. It was written by Johnny Striplin and Cecil Matthews. Both songs were published by Mrs. F. Matthews, BMI.
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