The Dynamics recording at Atlanta Sound Studios, 1967. From left: Steve Diehl, Bruce Allen, Stanley Newman, Ronnie Osborne, and Bob Garrett
The Dynamics Unlimited released one 45 on the Rose Records label, the melancholy “The Tide Rises” (lyrics taken from the poem by Longfellow) b/w “Baby Let’s Wait” on Rose 2890. Publishing is through Margie Music, BMI. The RCA custom press # U4KM-4910/1 points to a 1967 date.
The band then backed Jerry Ashley for his single on Rose 2091, “Don’t Tell Me Why” / “Come to Me”, two originals by Ashley also published by Margie Music.
The Dynamics on break at an officers’ club. From left: Bob Garrett, Stanley Newman, Bruce Allen, Steve Diehl, and Ronnie Osborne
I knew nothing about the Dynamics until drummer Bruce Allen contacted me in April, 2024 generously sharing the photos seen here:
Dynamics promotional photo, early 1967
My name is Bruce Allen, and I was the drummer for the Warner Robins, GA band known as The Dynamics Unlimited. I was one of the three founding members, along with Stanley Newman and Bob Garrett. About 1965-6 we added a keyboardist, Steve Diehl, and a bass player. At first Dan Ross (dec.) played bass for us, but by the time of our recording of “The Tide Rises”, bass was being played by Ronnie Osborne.
Beginning in about 1966, Steve Diehl’s father, Mr. Carl Diehl of Warner Robins, managed the band and handled all money matters. The band members were paid proportionally after each performance.It was during 1967 and 1968 that we had the promo photos made, played as a studio band for Jerry Ashley on one record, and recorded our version of “The Tide Rises”, and “Baby, Lets Wait”. Many weekends (we were still in high school) were taken up with rehearsals and local performances. During spring and summer breaks we performed further afield at several Officer’s Clubs, Battles of the Bands, and private clubs. Mr. Diehl was a fine gentleman and took great care of the band when we traveled. No one did drugs or even drank much alcohol. It was a fabulous way to spend our later high school years.
Regarding Jerry Ashley, I only recall The Dynamics Unlimited performing as a studio band for him on two or three recordings. I don’t recall performing with him outside of the studio.
Dynamics promotional photo, 1967Bruce Allen’s Ludwig drums, 1966
I left the band in 1968 after performing a show at Ronnie Barn’s club in Macon GA during late summer, after which I passed out and was diagnosed with mononucleosis. Because the doctor told me that I could not play for at least six months, and because we had bookings, I sold my 1966 Gold Sparkle Ludwig drums with Zildjian cymbals and all of my interest in the band and equipment to Ricky Hughes of Warner Robins, who played drums for the band until the band dissolved in about 1971-72.
I have lost touch with Ronnie and received no reply from what I believe to be his last address in Seneca, SC. All the other band members are deceased. Bob died first in (I believe) Nashville in the 1980s or 90s. Steve Diehl went to serve in Viet Nam about 1971 as a helicopter pilot, was decorated for bravery, and on return to civilian life he drove a heavy rig for (I believe) Hunt Transportation company. He died of a heart attack several years later. I do not know what happened to Steve’s marvelous Hammond B3 organ. Stanley went to work at Robins AFB and died about ten years ago, and Dan Ross was a prominent business man in Warner Robins in the auto industry, and died within the last ten or so years. So, as far as I know, I am the only member of the band that is still living.
Ronnie Osborne on bass, at recording of The Tide Rises 1967
I went off to the University of Georgia in Fall of 1968 and got a degree in Chemistry in 1972. I then went to medical school at the Medical College of Georgia, earned an M.D. honors degree in 1976, did a residency there in dermatology, and taught on the faculty until 1983. I entered private practice in Dermatology in Macon, GA in 1983, where I practiced until 1994. I left medicine in 1994 to run two LLC businesses, and in May of 2007, the Prince and the Government of Liechtenstein appointed me as the first diplomatic consul in history for the Principality of Liechtenstein. I still perform that job as a State Department accredited Honorary Consul.
Bruce Allen of the Dynamics in the studio, 1967Yours Truly, Cathead Dooley CD
I have continued to play drums and today have three sets of drums (Ludwigs, Gretsch, and Roland Pro Vs). In the 1990’s I played drums with the GEDA Allstars for three years (a band formed by the Economic Development Authority for the State of Georgia). I also had a very successful band in the early 2000’s called Cathead Dooley and we performed tours in Wales during 2003 and 2004. We recorded a CD of all original material called, Yours Truly, Cathead Dooley.
All photos courtesy of Bruce Allen.
Bob Garrett and Ricky Hughes would join Coldwater Army, who recorded a good blues-rock album Peace for Agape in 1971.
This is a 2024 update of a basic post from 2014.
Clippings for the Dynamics and Steve Sanders at Macon Auditorium
The Federal Fugitives were unknown to me until Rick Ledbetter commented below with the lineup:
Rick Ledbetter – lead guitar Steve Allen – rhythm guitar Dennis Mitchell – bass Gary Stone – drums Johnny Stovall – horns Steve Allen – horns
“Woman of Stone” is a good light-psychedelic original by Ledbetter and Stone. Jim Youmans (of the Swingin’ Apollos) did a fine job of production.
The musicians are accomplished, I wonder if the Federal Fugitives is a pseudonym for another group.
Ledbetter and Stone also wrote the harmony-filled ballad flip, “Just Remember”.
Released on Youmer Records Incorporated, YM 1002 with an address of 524 Plasters Ave, in Atlanta. Youmer’s first release was the Sons of Bach, “Stubborn Kind of Fellow” / “I Knew I’d Want You”, which I haven’t heard. Youmans produced this one too. Without original songs, there’s even less chance of finding out who played on that record.
Both songs published by Margie Music BMI, which was based in Decatur, but I can’t find registrations for either.
Rick told me more about the members of the Federal Fugitives:
Gary Stone went on to play with Billy Joe Royal.
Dennis Mitchell played with Ben Dover and Tennessee Tucker and also appeared in Six Pack with Kenny Rogers.
Rick Ledbetter went into radio broadcasting (Rick Ledbetter On Air on youtube).
Steve Allen performs as a one man band.
Johnny and Ted Stovall also played horns with The Soul Patrol around Atlanta after Rick formed the new group after two years in the Army.
Ted Stovall went on to arrange the horns on Lynyrd Skynyrd’s “What’s Your Name” and “Moonlight Feels Right” by Starbuck.
The Venetian Blinds released a great double-sided record in August, 1967, “Just Knowin’ You Love Me” and “Quit Your Belly Achin’ Baby”.
The band came from Atlanta, Georgia.
Members were Ric Jansen, Steve Abstance, Lance Adams, Mike Nolen, and Bill Allen.
On November 11, 1967, the Atlanta Constitution ran a short profile of the band headlined “‘Venetian Blinds’ Are Rolled Out”, written by Charlie Burks.
DJ Don Rose came up with the band’s name on his WQXI show when he said “The Doors, The Electric Prunes, The Strawberry Alarm Clock … Next it’ll be The Chairs or The Tables or The Venetian Blinds.”
The article mentions a second recording, “Bad News Girl” / “What’s His Face” and says “it has psychedelic overtones and should hit the charts.” I wonder if these songs exist on acetate or tape.
The Grudge Records label has an address of 470 Springwood in San Antonio, Texas. I don’t know why the group had their single released with an obscure Texas label. The article has no mention of Texas. That San Antonio address led to some confusion. Doug Hanners and Dave Shutt listed the band in the 2nd edition of Journey to Tyme, and the Eva label included “Quit Your Belly Achin’ Baby” on Texas Punk From The Sixties (vol. 2), released in 1985.
Ric Jansen wrote both songs, with arrangement help by Mike Nolen on “Just Knowin’ You Love Me”. Neither name shows up on other records in either Atlanta or San Antonio, to my knowledge, nor have I found another release with “A Ric Jansen Production” credit.
The publisher, Margie Music was associated with Atlanta Sound Recording Studios and the Gaye label, like the Mondels, Red Beard & the Pirates, etc. Furthermore, though this may have been a Rite account, the deadwax includes NRC for the National Recording Corporation, an Atlanta pressing plant.
The article mentions the Venetian Blinds appeared on a local TV show, and that Merv Griffin showed interest in featuring the band on his show.
Dexter and the Derbies, January 1968, from left: Dexter Greenhaw, Dennis Brooks, Danny Ausley and Mark Gamble
Dexter and the Derbies came from Athens, Alabama, a small city about 95 miles north of Birmingham, and 99 miles south of Nashville, TN.
The Limestone Democrat newspaper featured this photo of Dexter and the Derbies on the front page of the January 23, 1968 issue. The band was part of the International Rodeo Association convention in Nashville. The members were:
Dexter Greenhaw – lead guitar Dennis Brooks – drums David (Danny) Ausley – rhythm guitar Mark Gamble – bass guitar
Dexter and the Derbies cut only one single, released in August 1967 according to Teen Beat Mayhem. The band members would have been about 12 years old when recording the songs.
The top side is the intense “Time”, written by J. Greenhaw who seems to be Dexter’s brother Johnny Greenhaw. I can’t make out all the lyrics but one verse goes “Everybody wants to be loved and romanced, but nobody, I mean nobody will give a second chance”.
Rochelle Frazier and Buck Peddy wrote “They Wouldn’t Dare”, registering the song on December 9, 1965, almost two years before Dexter & the Derbies recorded it. The lyrics tred similar ground to the Barbarians’ “Are You a Boy or Are You a Girl” from earlier that year.
The girls wear pants now and also shirts, Pretty soon the boys will be wearing skirts. Now don’t tell me that they wouldn’t dare, If you don’t think they would take a look at their hair.
Now you don’t touch when you dance these days, In fact your partner moves far away. How can you hold anybody tight, When they twist and turn right out of your sight.
You ask your neighbor if that’s his girl, She looks so pretty with her long blonde curls. That’s when you feel when like you ought to run, When he says “that’s not my daughter, it’s my teenage son!”
Now don’t tell me that they wouldn’t dare, If you don’t think they would take a look at their hair.
Buck Peddy wrote songs with Mel Tillis among others. He seems to have produced this single, and his Peddy Music published both songs. Released on Derby Records 1313 out of Nashville, Tennessee, the labels show Sound of Nashville master numbers SoN 48941/2.
Dexter Greenhaw graduated high school in 1973, then studied music at the University of North Alabama. He directed the band at Clements High School, and also had a band called Denim. Dexter passed away in March, 2007 of ALS at the young age of 52.
The Vandals are possibly from Georgia but I haven’t seen any definite info on the band.
“Your Love Will Die” is a speedy, chaotic and excellent punk song, with ringing guitar, busy drumming, and shouted vocals not quite in unison. One guitarist plays both rhythm and lead. “Mary” is a fine ballad, there’s a clip on youtube but it has a skip in it at the end of the guitar solo.
The only member’s name I have is Steve Randall, who wrote both sides for Boldlad Music, BMI but I can’t find a copyright notice for these songs.
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
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.”
Jerry Ashley photo courtesy of Bruce Allen Jerry Ashley recorded for two related Atlanta, Georgia labels, Rose and Gaye.
The Dynamics Unlimited backed Jerry Ashley for his single on Rose 2091, “Don’t Tell Me Why” / “Come to Me”, two originals by Ashley also published by Margie Music.
The Dynamics Unlimited had their own 45 on the Rose Records label, “The Tide Rises” / “Baby Let’s Wait” on Rose 2890.
Jerry Ashley had a second single on Gaye Records 3044 from late ’67 or 1968, an upbeat party record with sing-along vocals, shouts and screams called “Come On”, backed with an instrumental version of the same song. This too was a Jerry Ashley composition for Margie Music and though the PO Box on the label is slightly different, there’s a striking similarity to the Rose label design.
I’d appreciate any additional info about Jerry Ashley or the Rose and Gaye Records labels.
Thank you to Mark Taylor for the scans of the Jerry Ashley 45s on Rose and Gaye.
There’s no denying the power of the Mondells 45 on Gaye, “I Got a Feeling” / “You’ll Never Come Back to Stay”. Both songs have thick distortion on the guitar, nice organ swirls, pounding drums, and good lead and backing vocals.
The code U4KM-5024 denotes an RCA custom pressing from the first half of 1967. The scan I originally posted showed no song writing credits on the label, but as Mike Markesich pointed out in his comment below, that scan was doctored to keep the writer’s name secret until the band could be found. From the scans I now have, Roy Farmer Jr. wrote “I Got a Feeling” and Benny Thomas wrote “You’ll Never Come Back to Stay”. Both sides are published by Margie Music, BMI, and listed as A Gaye Talent Production.
The group itself is still something of a mystery to me. I did find out that the Mondels, like Red Beard & the Pirates, came from the rural hills between Blue Ridge, Georgia (Morganton, Mineral Bluff, Epworth) and Copperhill, Tennessee / McCaysville, GA, about two hours drive north of the studio in Decatur, GA, just east of Atlanta. From the same area came The Blazers, who had a self-produced LP On Fire.
An old auction listing gives a couple names for Red Beard & the Pirates: Randy Queen and “Sea Dog”. The seller also mentioned two members of the Mondels: “Billy Suites (died from auto accident) and Lamar Harper (died a couple of years ago from cancer). Actually the name ‘Tootie’ written on the record is my sister-in-law and she dated Lamar.” I contacted the seller for more info, but I can’t confirm if these names are accurate.
The Mondels is one of the rarest and best 45s on the Gaye label.
Mike Dugo interviewed a member of the Penetrations who have a record on Gaye, “A Different Kind of Man” / “I Got A Girl” but they were from Belton, South Carolina, to the north east of Atlanta.
Thank you to Mike Markesich for the scans and info on the band. Transfers from Teenage Shutdown vol. 13.
Johnny Brooks owned the Gaye label, based in Atlanta, Georgia, and named it after his wife. The label started with pop releases, then added soul 45s and consistently strong garage singles by Little Phil & the Night Shadows, the Mondels, the Blades, the Penetrations and Red Beard & the Pirates. Some numbers have a prefix, usually ASR, which refers to Atlanta Sound Recording Studios, also owned by Brooks.
Troy Shondell recorded the Chips Moman song “This Time” for Goldcrest in 1961, released nationally by Liberty. I don’t know who Troy Shundell is, but his version on Gaye (#2010 from circa 1965) is a different recording than the Goldcrest/Liberty issue, and is likely a different singer altogether.
Any help with this discography would be appreciated
114 – Ken Springer – “You’re Faithful Anna” / “Lovely Love” (with picture sleeve) 210 – J.T. Ratcliffe With Shirley & The Swamp Bugs – “The Beatle Bug” / “Bill’s Friend” 212 – George Hughley – “Do The Beatle” / “My Love Is True” 2002 – Bobby & The Belmonts – “Drum Dog” / “He’s Home From College” (1964) 2004 – Beverly Taylor – “Sweeter Than Sugar” / “I Need Someone Like You” 2009 – Ken Springer – “Like A Child” / “Maybe” 2010 – Troy Shundell – “This Time” / “I Catch Myself Crying” 2018 – Frankie And The Play Boys featuring Arnold Sanford – “Two To One” / “Crying Towel” 3019 – The Blades – “I’ll Shead No Tear” (sic) / “Again” 3020 – Joe Dickey – “April In Atlanta” / “Walk With Me (Into Paradise)” 3027 – The Penetrations – “A Different Kind of Man” / “I Got A Girl” 3031 – Little Phil & the Night Shadows – “Sixty Second Swinger” / “In the Air” 3031 – Milford Fagg with the Penetrations – “Do You Still Remember Me” / “Mr. Ivory” 3032 – The Mondels – “You’ll Never Come Back To Stay” / “I Got A Feeling” 3033 – Joe Brown – “It’s All Over” / “Promise Me” 3034 – Ted Ford – “You Don’t Love Me” / “Hold On To the Key” 3041 – C. J. DeLong – “Goodbye Dreams” / “I Don’t See Me In Your Eyes Anymore” 3043 – Red Beard & the Pirates – “Go On Leave” / “Don’t Be A Loser” 3044 – Jerry Ashley – “Come On” / “Come On” (instrumental backing track) 3045 – The Blades – “Moving Out” / “I Need You” 3047 – Sheppard Brothers – “Hold Me Closer” / “Mess Up My Mind” 5001 – Johnny Jenkins – “Soul Boo-Ga-Loo” / “Ring-O-Ling” 5002 – Lee Mays & the Zonics – “Writing This Letter” / “Nothing Means Nothing To You” 5005 – Ernie Wheelwright – Begging You Back / “In Your Arms” 5006 – Automations – “World of Make Believe” / “Going Out of My Mind” 6001 – Betty Logan – “A Lot To Learn” / The Logan Sisters – “Flop Mop”
Gaye discography compiled from Georgia Soul with additions and corrections from Mike Markesich, Bob of Dead Wax, Drunken Hobo, George, and Chas Kit.
368 – Paula Grimes – “Zing Went The Strings Of My Heart” / “Fancy Love Words” (George pointed out this is an unrelated NY label)
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
