Category Archives: Columbia County

George Quarta Jr. “Get Loose” / “Don’t Move” and Bob Cribbie “Vow of Love” / “Rockabilly Yodel” on Cool Records

George Quarta, Jr. Cool 45 Get LooseToday I’m featuring two rockabilly artists, George Quarta Jr. and Bob Cribbie, who both grew up in Hudson, New York.

In 1959 they each released a 45 on the Cool Records label out of Harrison, New Jersey. George Quarta Jr. cut “Get Loose” / “Don’t Move”, and Bob Cribbie made “Vow of Love” / “Rockabilly Yodel”.

Cool Records attracted artists from Florida to Vermont. The Hudson connection might be coincidental. The records do not sound similar and may have been cut at different sessions or studios. What makes me think this could be more than coincidence is the 45s had successive release numbers: Bob Cribbie on Cool Records CJ-117, and George Quarta on Cool CJ-118.

George Quarta was born on December 21, 1931 and died on September 6, 2017. Quarta’s obituary states “He performed in the Hudson area including at the old Community Theatre where billboards of George lined the walls as the girls excitedly gathered to hear him sing and play his guitar.” The Community Theatre still stands, but has been disused for decades.

Bob Cribbie Cool 45 Rockabilly YodelBob Cribbie’s vocal on “Vow of Love” is straightforward, but his delivery on “Rockabilly Yodel” is very much “outsider” in nature; he certainly has an odd sense of timing! Bob became known as a idiosyncratic yodeler, appearing on radio and late night TV under his own name and then as Avalanche Bob.

Did George and Bob know each other? I have no idea. Nearly everyone involved in these records has passed away.

What was the connection that brought Hudson NY artists to record at Cool?

It was likely veteran talent scout Jim Small, of nearby Elizaville, NY.

Jim Small and Slim Whitman after WCOP’s Hayloft Jamboree, Cash Box May 16, 1953

Jim Small’s ten years of mentions in trade publications hints at the tough life of a record A&R man.

In 1953 and 1954, Jim received mentions in Cash Box as manager of WCOP, Boston, and business manager of New England’s “Dude Ranch Jamboree” out of WJAR-TV, in Providence, RI.

Billboard, Sept. 29, 1958:
Jim Small of Elizaville, N.Y. .. has accepted talent-scout duties with Johnny Dee’s Vitam Distribution Company, Harrison, N.J., and Johnny Ponz’s Ace Records, New York. Jim will cover Dee’s three labels, D, c.&w.; Vitam, pop, and Cool, rock ‘n’ roll. He’ll cover c.&w. and rock ‘n’ roll for the Pony label. Small, who was laid up most of last winter with pneumonia, says he’s good as new again.

Cash Box, October 11, 1958:

Jim Small … has been chosen by two record companies as a national talent scout. One is Vitam Distribs of Harrison, N.J., which has three labels: the strictly country “D” label, the pop Vitam, and the rock ‘n’ roll Cool label. Small will represent all three. The other outfit is Ace Records, New York, which will add country releases to its pop catalog.

(I am not familiar with a Harrison, NJ “D” label. It could be that it was not used because of Pappy Daly’s D label out of Houston which started earlier that year. I know of only one release on Vitam, Ray King and the Joe Derise Orchestra, “Can It Be Love” / “I’ll Always Love You.”)

Billboard, November 24, 1958 reported:

Visitors at the desk last Wednesday en route to the Nashville deejay festival, were promoter-manager Jim Small of Elizaville, N.Y. and a pair of his artists, Dick Sawyer of Stratford, N.Y. and Neil Swanson, who for the last four years has appeared on “Teen-Age Barn” TV show originating in Schenectady, N.Y … Sawyer’s initial release on Cool Records, “Sandy” b.w. “New Kind of Lovin’,” is due for early release.

The Glens Falls, NY Post-Star on August 6, 1959 mentions talent scout Jim Small in connection to Gerald Galusha, who made a record for Cool as Jerry Edwards, “Shedding Tears” / “Easy to Please” on Cool CJ-128.

Billboard August 3, 1959:

Jim Small, A&R man with Joe Flis’ Milo Recording Company, Harrison, NJ, has taken over the personal management of three Cool Records artists – Dave Osborn, Johnny White and Artie Davis. Small recently ushered Osborn to Wheeling, W.Va., for a guest shot on WJVA’s World’s Original Jamboree. White’s newest Cool release couples “Cryin’ Room” and “Rose in the Garden,” while Davis’ new one on that label is “Book of Love” b/w “Hawaiian Boogie.”

Billboard, April 4, 1960:

Jim Small, who has been associated with the c.&w. music field more than 25 years, has been named vice-president of Milo Recording Company, Harrison, N.J., by owner-manager Joe Flis. Jim has long served as talent scout for Milo and organized the firm’s c.&w. department with its Cool label. Small is presently in De Land, Fla., recuperating from an attack of ulcers which laid him low for several months. He is continuing with his scouting and auditioning during his Florida stay. With him is his right-hand man and assistant, Dave Osborn. Small’s home and office is in Elizaville, N.Y. [Dave Osborn came from nearby Hillsdale, NY, and made records on both Milo and Cool.]

Jim Small’s A-B-S Records label in March 1963: the artist pays $300 for 300 records … future royalties uncertain. George Quarta and Bob Cribbie probably made a similar deal with Cool Records

Billboard, July 25, 1960:

Jim Small, Veepee of Milo Recording Company and Cool Records, Harrison, N.J. is currently on a talent-scouting expedition thru Pennsylvania. Touring with him are his assistants Bud Bailey and Bob Weiss. Dave Osborn, who worked with Small out of the Cool branch in DeLand, Fla. the past winter, is spending the summer with his band in his native New York State. He will return to Florida with Small in the late fall. Jim reports that he is amazed at the amount of solid c.&w. talent that has been overlooked in Pennsylvania.

Billboard April 13, 1963:

Jim Small, president of A-B-S Records, Inc., Elizaville, N.Y., is back in action after spending most of the last 10 months in the hospital. Small has named Bud Bailey as general manger of A-B-S. Firm last week released a new one by Mickey Barnett and His Wranglers, “Just a Memory” b.w. “I’m Sorry I Cheated on You,” both penned by Mickey himself. A new A-B-S religious release spots “I’ve Been With Jesus” and “When I Move” as done by the Missionaires Quartet of Miami.

The Wilmington, Delaware News-Journal March 10, 1964:

Howard Rash, a songwriter and singer of country and western ballads, has purchased ABS Records from Jim Small of Elizaville, N.Y., and DeLand, Fla.

Kennett Sound Studio acetates – Unknown and unidentified artists

Claud Stuard [sic] – Claude Stewart, or Claude Steward?
Bands and musicians from Schenectady, Albany, Poughkeepsie, and other areas traveled to Kinderhook to record at Earl Kennett’s studio.

A number of lacquer demos (commonly called acetates) of various sizes remained when Kennett Sound Studio closed and the property sold. Many of these demos are of the Cleaners (later known as the East Coast Clique), the group Kennett worked with the most. Others duplicate the recordings that would be released on 45 rpm records.

Below is a list of demos by unknown artists, in approximate chronological order. Because Earl was blind, many were unlabeled, though Earl’s young daughters sometimes added names or titles. Many song titles below are my guesses based on the lyrics.

Please take a listen to the audio excerpts and contact me if you know any of these artists.

8″ acetate by James Morse, not the same song as the Claude Steward, above. Another 8″ acetate has his name as Jimmy Morse
8″ lacquer acetates

Claude Steward (Claude Stewart?)
“I’m Going Your Way, I’ll Walk You Home” (excerpt)
“Goodbye Girl” (excerpt)

Jimmy Morse / James Morse
(two 8″ acetates, circa 1967)
“Can’t You See I Want You (Time After Time)” (excerpt)
“Back Alley Blues” (excerpt)
“Hey Little Girl” (excerpt)

Horvath family song, 1967 – Excerpt

Chain Reactions Kennett Sound Studio Acetate 45 Black and Blue

7″ lacquer acetates:

Unknown rock group circa 1968
“Goodbye” (excerpt)
“Girl” (excerpt)
Group from The Office Kennett Sound Studio Acetate 45
Chain Reactions (circa 1967)
“Black and Blue” (excerpt)

Group from “The Office” (circa 1968)
“He Was a Friend of Mine” (excerpt)
“Who Do You Love” (excerpt)

Unknown soul group – male lead with female backup
“Baby” excerpt

Pink Sydel Kennett Sound Studio 12 inch acetate
The Pink Sydel ?!

12″ lacquer acetates:

The Pink Sydel, 4/20/1968
“Memories”
“The Pink Sydel” (excerpt)
“Happy Together”
“We Gotta Get Out of this Place”

Unknown rock band circa 1969
“Darling Please” (excerpt)
“Please Try” (excerpt)

Folk singer Greg (surname?), associated with Hudson River Clearwater Sloop, circa 1969. Five songs, may not have been recorded at Kennett as it sounds like a radio broadcast.
Hear “My Dirty Stream” with discussion of Sloop restoration

Unknown band with horns, circa 1970:
“Vanilla on My Mind” (originally done by the Yellow Payges)
“Lady in the Night” (excerpt)
“Forty Million Dreams” (excerpt)
“It Will Take Time” (excerpt)

The Coachmen – “Green Green Grass of Home”
Unknown (The Coachmen?) – “Green River” (excerpt)
Unknown (The Coachmen?) –“You’re Gonna Be My Girl” (excerpt)

Unknown female vocalist with acoustic guitar, flute & drums, early ’70s:
“Lonely Eyes” (excerpt)
“If There’s No You Baby” (excerpt)

Unknown lounge/pop singer with combo:
“Lonely” (excerpt)
“Around the World” (excerpt)

Earl Kennett and Kennett Sound Studio, Kinderhook, NY

Earl Kennett, left with members of Love Minus Zero inside the Sunnyside studio, January 8, 1967. Photo courtesy of the Kennett family.
Kennett Sound Studio acetate of three songs by the East Coast Clique (previously known as the Cleaners), photo courtesy of Mike Dugo

Earl Kennett was born in 1912 in Augusta, Kansas. He attended the Kansas State Institute for the Blind and the Horner-Kansas City Conservatory of Music.

He established some reputation as a touring pianist in the 1940s, including at the Blue Note at 56 West Madison in Chicago, the Rainbow Room in Oklahoma City, and the Casablanca Supper Club at 101 May Avenue in, I believe, Oklahoma City.

On March 1, 1945 Down Beat published a review:

Jazz Concert Given in Minneapolis

From 3 to 5 Sunday afternoon, February 11, Doc Evans conducted the first in a series of jazz concerts held in station WCCO’s auditorium studio.

… on piano was Earl Kennett, a solo fixture at the Casablanca …

… Song Of The Wanderer, the final tune, developed into an all-out jam-session … Pianist Kennett drew a tremendous, spontaneous ovation from the audience with his three sensational choruses on this closing number.

In the 1960s he sometimes played with the Original Berkshireland Jazz Band in Williamstown, MA. I have not yet found any recordings with Earl prior to his own album Musical Themes of Composure: Earl Kennett’s Original Piano Improvisations of Restful Music from circa 1967.

Though blind, he received training in audio recording. A 1957 LP on ABC-Paramount, Vinnie Burke’s String Jazz Quartet credits Earl Kennett as recording engineer.

Earl Kennett in the Carnegie Hall studio, May 1959

I believe his first studio was located at 115 West 49th Street, New York City. In January 1958, he moved the studio to rented space in Carnegie Hall. The May 1959 issue of Broadcast Engineering had a three page feature on Earl with detailed information about the studio construction materials made by the Johns-Manville company, with a console built by Fred C. Roberts.

Facing Earl are saw-tooth-shaped Imperial Transitone movable walls for accurate sound reflection. Next to the piano not in use is an even-finish movable wall, also for sound reflection, and a sound-absorbing perforated Transite acoustical panel. The floor is covered with quiet-under-foot Terraflex vinyl asbestos tile and the ceiling with Permacoustic, a sound-absorbing fissured acoustical tile.

In early 1964 Earl moved his studio for a brief time to Mountain View Road in Nevis, a small town near Bard College in Tivoli.

In 1965, Earl and his wife bought Sunnyside farm in Kinderhook, New York, about 20 miles southeast of Albany. Earl converted an old dairy barn on the property into a recording studio, substituting egg cartons for the pricey asbestos baffles.

The first recording from his studio I can find is the Kynds single “So If Someone Sends You Flowers Babe” / “Find Me Gone”. Pressed through RCA in September, 1966, there is no indication of where it was recorded on the labels, but drummer Jerry Porreca recalled making the single at Kennett’s studio.

Back of Love Minus Zero photo at top. What are these names in the middle?
Freely, Freddy, Eby, Franky ??

On January 8, 1967, a group called Love Minus Zero did a session at the studio and sent a photo to Earl. The group came from Albany, and I may have their recordings on an unlabeled lacquer acetate. It’s difficult to make out the names of the group – but luckily I found a lineup in Al Quaglieri’s The Old Band Chronicle #4, a list of Capital District bands compiled in 1990.

Love Minus Zero were:

Gary Siegel – vocals
Eberhard Kobryn – guitar
Fred Everhart – bass
Frank Herec – drums

I believe Everhard Kobryn passed away in 2012. Later lineups added Jack Reilly on organ, replaced by Mark Rabinow. Eventually Fred Everhart was the only original member of the group, with Steve Fuld on guitar, Gary Gardner on vocals, and Stanley ? on drums.

In 1967, Kennett engineered Nick Brignola’s first LP, This Is It! on Priam P-101M. Musicians were Nick Brignola, Reese Markewich, Glen Moore and Dick Berk, A&R by William Rezey, photography by Bob Mitchell.

Nick Brignola Priam LP back cover

Nick Brignola Priam LP front cover

Another single I can confirm was recorded at Kennett is Riccardo and the 4 Most “There’s a Reason” (written and sung by Bill White) / “Bare Footin'” (featuring Ricardo Wright) Foremost Records U4KM-0937.

Jelly Bean Bandits Earl Kennett Sound Studio
The Jelly Bean Bandits at Kennett Sound Studios in Kinderhook, from left: Mike Raab, Jack Dougherty, Joe Scalfari and Billy Donald on the floor – photo taken by bass player Fred Buck.

The Jelly Bean Bandits made their first demo at Kennett Sound Studio, never released to my knowledge. Mike Raab wrote:

The Goodtimes had done some recording there and when we decided to lay down tracks Dave Kennedy suggested Earl’s place … We really didn’t know what we wanted to do or could do. We cut two demo songs: “Poor Precious Dreams” an original song that ushered us into the psychedelic music era; and “Hard, Hard Year” a beautiful b-side from The Hollies that we managed to brutalize.

I have found an acetate of this early version of “Poor Precious Dreams”. The duration is about thirty seconds longer than the version on their Mainstream album.

Earl Kennett's Original Piano Improvisations of Restful Music Side A

In 1967 Earl Kennett began offering pressing services through Decca’s plant in Gloversville. Some releases have “Kennett” at the bottom of the labels, but all have a distinctive four-digit release number, beginning with “00”.

There were at least twenty-three 45 rpm singles and one LP released through Kennett’s studio with this numbering system. The last release I can find dates to 1973.

In addition, I know of a number of unreleased lacquer acetates by the Cleaners, the Chain Reactions, and others:

If you or someone you know recorded at Kennett, please contact me.

If you don’t see your record listed below, please listen to these unknown and unlabeled demos!

—–

Discography of Kennett Sound Studio (possibly incomplete):

Kleener Style Records 0011 – The Cleaners – “Dust” / “Hold Me, Thrill Me, Kiss Me”

Sunnyside Records 0012 – Musical Themes of Composure: Earl Kennett’s Original Piano Improvisations of Restful Music (12″ album)

0013 – ?

Sunny-Side Records 0014 – Psychedelic Sound – “Sorry Baby = Goodbye” / “Stars Cease To Shine” produced by M. Rizzi. Tina was the drummer for the band, and (I believe) one of the vocalists.

0015 – ?

Charter Records 0016 – The East Coast Clique – “Dust” / “Last Stop (Everybody’s Getting Off)”

Those Two Plus Kennett 45 I'll Be There0017 – Those Two Plus – “I’ll Be There” / “It’s Rainin’ (Where I’m Bound)” (both by Alex Rotter, arranged by “Those Two”) Kennett Sound, 1969

0018 – The Villagers ‎– “Wishes and Memories” / “Cry On” (Chuck Petit)

Jim De Sorbo photo found with his record
Jim De Sorbo and the Country Casuals JDS 45 For Crying Out Loud
Scan courtesy of Brian Kirschenbaum

J.D.S. 0019 – Jim DeSorbo and the Country Casuals – “For Crying Out Loud” (Music, lyrics, vocal – Rusty Howard) / “I’ve Had All I Can Take from You” copyright ’69 BMI

The Gallery 0020 – The Gallery / Peter Dean – “Forever Sunshine” (Sal Costanzo) / “Our Man Jack” (Edward Duggan), Kennett Sound, Mlester Pub. BMI. The Gallery – label name or group?

0021 – ?

S Bar S Records 0022 – Slim Skellett & the Slim Skellett Trio – “Ghost Riders in the Sky” / “Wanderers of the Wasteland” (Brad Husson guitar, banjo; Bob Skellett bass)

S Bar S Records 0023 – Slim Skellett & the Slim Skellett Trio – “Strawberry Roan” / “Billy Richardson’s Last Ride” (Brad Husson guitar, banjo; Bob Skellett bass)

King Town 0024 – Coming Generation – “Tell Me Now” (Jim Du Bois) / “This Troubled Life” (Ed Barnhart) copyright ’69

0025 – ?
0026 – ?

Third Wave 0027 – Morning After – “I Don’t Need You Today” / “Dream” (Tate, Talbott, Kearney) Copyright 70 Dyad Music BMI, Prod. by Lance Naylor, group from Lake Latrine area

Coachmen Casino 45 Green Green Grass Of Home0028 – ?
0029 – ?
0030 – ?
0031 – ?
0032 – ?

Casino 0033 – The Coachmen – “Green Green Grass of Home” / “Hang Up Your Rock and Roll Shoes”
Produced by Kennett AND QUINN

April Starr Ranch Bar 45 At the End of the Bar Kennett
from the collection of Brian Kirschenbaum

Ranch Bar Records 0034 – Billy D. Hunter with the Santa Fe Riders – “I Still Belong to You” (Grace Hamilton, Billy D. Hunter) / “Will You Remember Me” (Gorden Bainbridge, Billy D. Hunter) – Waterford, NY

Drift 0035 – Denny and the Drifters – “Mountain of Love” (Harold Dorman) / “It’s Only Make Believe” (Twitty – Nance)

Ranch Bar Records OO36 – April Starr the Bluebirds and Chorus – “Lonely Heart” / “At the End of the Bar” (Del Monday) – arranged by M. Leddick’ produced by T. Carbonare, R. Hastings, B. Herold, D. Smith, and D. Oliver, from Crescent, NY.

Drift 0037 – Denny and the Drifters – “Broken Hearted Dreamer” (Ted Craver and Denny Haughney) / “Why Do I Love You” (Kenny White, Paul Desroches) produced by Kennett

Fownds Reeb 45 Comin On StrongReeb 0038 – The Fownds – “Rosalin” (Sal Gambino) / “Comin On Strong” (Donald Moore) (1971)

0039 – ?
0040 – ?

Mojo 0041 – Exit 19 – “Angel of the Morning” / “To Be Alone” (written by Joe Cashara who also did lead vocal) produced by Lanse Dowdell, 1972

Quellthom 0042 – Bob Thomas – “It’s Just Not Fair” / “I’m Walkin’” / “Hello Mary Lou” (1973)

Parker 0043 – Country Express – “Trying to Quit” / “Ode to a $164 Plane Ticket” (both songs by D.B. Boucher, vocal by Frenchie La Shay) 1970

Reeb 0044 – The Founds – “Wheels” / “Remember” – vocal by Roy Jackson, both songs by Donald Moore, 1973

Tommy Gene, Don Horne & Kings of Country 45 Me Too Kennett StudioRanch Bar 0045 – Jimmy DeSorbo and the Country Casual’s ‎– “Listen to the Mocking Bird” / “Let the Rest of the World Go By” (Dolly McIntyre – producer)

King Records 0046 – Tommy Gene with the Kings of Country – “Somewhere U.S.A.” (words by Carol Curtis, music by Tommy Gene) / Tommy Gene and Don Horne – “Me Too” (accompanied by Alice Horn, words by Don Horne). A-side has 1968 copyright while B-side has 1973 copyright.

——————

Any help with additional releases, photos or memories of the Kennett Sound Studio would be appreciated.

The Gallery (formerly the Gayblades) included Sal Costanzo (organ), Peter Dean (drums, vocals), Holly Gregg, John Dean, Bob Dean, and Robbie Howard, though I am not sure exactly who played on their single “Forever Sunshine”.

The Gallery info from History of Syracuse Music.

Note: there was a Kennett Sound Studios operating out of Kennett, Missouri recording mostly country music, 1,100 miles away and unrelated to this studio.

Background on Earl Kennett from a National Park Service publication Plant Yourself in My Neighborhood (PDF file) by Cathy Stanton.

This article is being rewritten starting in August 2022.

Thank you to Brian Kirschenbaum and Mike Markesich for help with this article, and to Peter Aaron for lending the Those Two Plus 45.

Special thank you to Dorothy Kennett.

The Villagers “Wishes and Memories” / “Cry On” on Kennett Sound

Villagers Kennett Sound 45 Wishes and MemoriesThe Villagers included Phil Haskins, Rick Haskins and Charles Petit.

They cut their only single in very early 1969 at Kennett Sound Studio, located in a renovated barn just south of the village of Kinderhook, NY.

Phil Haskins wrote the words to the slow, lovely “Wishes and Memories” and co-wrote the music with Rick Haskins (Richard J. Haskins).

Charles R. Petit wrote the more soul-styled “Cry On”, copyright registered February, 1969.

There is no label name, but Kennett Sound appears on other singles by the Cleaners and East Coast Clique, and the 0018 release number is similar to others from that studio, usually four digits starting with 00.

Anyone have a photo of the group?

Villagers Kennett Sound 45 Cry On

The Fownds of Hudson, NY

Fownds Reeb 45 Comin On StrongFownds Reeb 45 Rosalin

Founds Reeb 45 RememberThe Fownds came from Hudson, New York. They had two singles, first the thumping rocker “Comin On Strong” b/w the doo-wop influenced “Rosalin” in 1971, and then the moody “Remember” b/w a hot rod parody “Wheels” (the band name changed to the Founds on this release).

Both singles have a sound like something from the early-mid ’60s despite the release dates.

Donald Moore wrote most of the songs and did some lead vocals. Sal Gambino wrote “Rosalin”, and Roy Jackson sang lead on the moody “Remember”.

The Fownds released both singles on their own Reeb label (“beer” spelled backwards), a custom label through Earl Kennett’s studio in Kinderhook.

Don Moore had a later band called Confusion, I believe he passed away in 2013.

Founds Reeb 45 Wheels

The Classics of Chatham, NY

The Classics Ram EP Pink Cats and MeanWomanThe Classics came from Chatham, New York, a town about 30 miles southeast of Albany. I live not far from the village and my daughter goes to the local public school, so I’ve been very interested in learning more about this band. Donnie Mettauer was the only member’s name I knew of until a comment below noted Richie Muller played bass and Rich Fiero drums.

In March of 1966 the band released four songs on a Rite-pressed 7″ EP with the Ram Records label. I’ve heard all four songs and can attest to the veracity of the old G45 description:

The four songs cover a lot of ground stylistically from the cute pop-fantasy (not psych) of “Pink Cats” through sweet harmony pop (“I Don’t Wanna Be Around”), and a restrained, double-speed rendition of the “Bo Diddley” classic. However, it’s “Mean Woman” that we’re here to talk about…a chunky, chugging riff-driven garage mover further propelled by clean stuttering electric lead lines, rumbling toms and call-and-answer vocals. A stunning release, rare as hen’s teeth.

In June of 1966 the band traveled to Nola Recording Studios at 111 West 57th St. in Manhattan. Also known as Nola’s Penthouse Studio or “The Penthouse Sound Studios of V.J. Nola” on the early acetate labels, the studio was a capacious room that opened circa 1940 on the 17th floor of Steinway Hall. The studio was owned by Vincent Nola and his son Tommy Nola. It closed in February 2014 due to construction to extend the building’s height.

Almost no one has heard any of the four songs the Classics cut on two unreleased demos recorded at Nola. I’ve been fortunate to hear one, “The World Can’t Take Time” which was backed by a song called “Bright Orange Clown” on one of the discs. The second demo has “Little Bo Peep” / “Baby Baby”.

There has been talk of a re-release of all eight songs, but so far nothing has come through. It seems Don Mettauer has passed away.

There weren’t many bands in the Columbia County area in the 1960s. There were the Del-Tones led by David Osborn with members including Rick Piester, Jerry Porreca, John Frentino, John Rundell, Peter Post and Richard Leavitt, and the Fownds (or the Founds) from Hudson who had two releases on Reeb. Another notable single is by the Kynds, also partially based in Hudson. The Kynds recorded at a studio in Kinderhook run by Earl Kennett, but I have yet to find any other recordings from that studio.

I’d appreciate any more information about the Classics.

The Kynds – “So If Someone Sends You Flowers Babe” / “Find Me Gone” on Mo-Foag

The Kynds, from the Schenectady Gazette, September 16, 1966

Kynds Mo-Foag 45 So If Someone Sends You Flowers BabeThe Kynds were a Capital region trio with members from Hudson, Troy and Schenectady, New York, and bookings throughout the area. They recorded their only single “So If Someone Sends You Flowers Babe” / “Find Me Gone” at Kennett Sound Studio in Kinderhook, NY.

Members included Joseph Cirincione, Jerry Porreca and Dan Wood. They were a trio of organ, bass and drums, which may explain why the organ is loud in the mix on both of these songs.

Jerry Porreca wrote to me “the band actually formed in Hudson. It evolved from the Del Tones to the Kynds and then Bits & Pieces.”

A short article in the September 16, 1966 Schenectady Gazette promoted one of their engagements. It gave a different bass player’s name, along with a different spelling of Joe Cirincione’s name:

The Kynds, featuring (from left) Jerry Porreca on drums, Denny Connolly, bass and Joe Cerincione, organ, are appearing nightly at Loreno’s Restaurant, 2235 Broadway. The group has worked at the College Inn, Saratoga Srpings, Excelsior House, West Sand Lake, and the Rose Garden, Amsterdam. They will be appearing with a second band, “The Four Most.”

In a comment below, Rick Piester states that he “was the original bass player in The Kynds. Had worked with Jerry Porreca earlier in the Del-Tones”.

The Kynds released this great 45 on what must be their own Mo-Foag label in the second half of 1966 (RCA custom pressing number TK4M-5296).

“So, If Someone Sends You Flowers, Babe” has become a favorite of mine, with its repetitive organ lick and quiet vocals. As far as I can make out, some of the lyrics are:

Kynds, Good Times Troy Record 1966 April 9
The Kynds at the Excelsior House, ad from the Troy Record, April 9, 1966

It really makes no difference if you like what you see in me
Not a chance babe,
‘Cause I’m happy,
That we are free (?)
What you say girl,
It don’t have no effect on me
So, if someone sends you flowers, babe,
You know it wasn’t me.

It was written by Dan Wood and Joe Cirincione, Jr.

The b-side is the fast “Find Me Gone”, with its famous shout near the end of the song, written by Joseph Cirincione, published by Upstate Music BMI.

Thanks to Brian Kirschenbaum, and to Jonas Carlsson for help finding the clipping from the Gazette.

Kynds Mo-Foag 45 Find Me Gone