The Savage Generation came from Westchester, NY. Members were Roger Alther of Tuckahoe, Ronnie Fruscianti of New Rochelle, Tom Scarcello and Ray De Angelis of Scarsdale, and Paul Montclare of Eastchester.
They had one single on Senate Record Corp 2113 from October 1968, both sides original songs by band members. Ray De Angelis wrote the A-side, “You’re Not Going to Change My World”, which is heavy on the phasing and has great rhythm section. I haven’t heard the flip, “Mr. Sun”, written by Tom Scarcello and Ron Frusciante.
Both songs published by Pocket Full of Tunes, Inc / Egavas Music BMI, produced by Wes Farrell, and distributed by ABC Records, NY.
Savage Generation Fan Club cardThe Herald Statesman profiled the Savage Generation on March 23, 1968 for a gig the following Saturday at Westchester County Center. Besides giving the names of the group, it mentions their manager, Frank Garofaola of New Rochelle, and Brother Darby Ruane of Iona College who help the band get high profile live shows. It also says the group evolved out of a duo, The Hangmen, and a trio, The Savages.
The article has many interesting quotes from the band’s members, and also lists two songs that weren’t released, “A Dream Walks Amongst Us” written by Paul Montclare, and “Birth of a Savage”.
“Taken in Bermuda on Spring Break we played the Buccaneer Club” – Tommy
We wrote a song called “Birth of a Savage.” I would come on stage wearing a priest’s white robe with a long afro and beard and would light myself on fire with lighter fluid and the stage as well. We would sing our song, and then as things were burning, I would pick up a large empty shell that looked like a mini bomb, and I would scream, “Peace, peace, or destruction!” and then fling it out into the audience … We went on and recorded an album at the first 24-track studio owned by Jimmy [sic] Hendrix in New York City.
I think it’s likely the group did record more than just the single, but nothing else has been released to my knowledge. After writing this article, Tommy contacted me and sent the photos seen here.
A belated thank you to transoniq for finding this article, and special thanks to Tommy Scarcello for the photos of the group and fan club card.
The Savage Generation, profiled in the Herald Statesman, March 23, 1968
Andy And The Classics Kama PS Utica, New York had a number of independent labels in the 1960s. At first I believed labels such as Kama, Krishna, Lewis and Aegis were related, but after a comment and more investigation, I’ve decided to cover a number of Utica labels that shared artists, distribution by Kama, or use of the Chadwicks Recording Studio.
Kenneth Hurd, a New Hartford shoe executive, owned the Hurd and Revere Records labels, as well as the Longmark Studio in Utica and the Chadwicks Recording Studio and pressing plant on Oneida St. in Chadwicks.
Any help with information about any of these labels would be appreciated!
Aegis Records
Aegis 1001 – The Bel Airs – “You Left Me (For Somebody New)” / “You’re the Greatest” (Aegis Records ARS 1001). Gates Initino, vocal. Other members were Guy Vivenzo, Dick Laurey, Jim Hanna and Jon Hynes). Distributed by Bason Agency, Utica.
Aegis 1003 – The Royals – “Shake It” / “Mix Up” (both written by Fran Migliaccio), W-194
Aegis 100? – The Royals feat Ralph Migliaccio “I Only Have Eyes For You/ Land Of A Thousand Dances”
Buddha Records
Buddha CO 1753 – The Roosters – “I Wanna Do It” / “You Don’t Need Any Reason”
Hurd 77 – Patti Miller & the Friends Trio – “Caveman Blues” / “Stone Age” (with PS) Hurd 78 – Andy and the Classics – “Walk Walk Walk” / “Wilma” – band led by Andy Cittadino Hurd 79 – Dee Dee Warwick – “I Can’t Go Back” / “I (Who Have Nothing At All)” (1966, prod. by H. Rudd and Bob Gallo)
Kama K-43 – The Ultimates “Lost Romance” (Foti-O’Donnell) / “Foreign Girl” (Dick Broderick – both songs Harbor Music ASCAP), unrelated label?).
Kama 501 – Gary Angel And The Halos – “Oh, Judy” / “Memories Of A Summer Day” (circa 1962) Kama 502 – Maureen Fitzgerald – “Twinkle In His Eye” / “His Own Kind of Rhythm” (division of Kama Productions)
Kama L-106 – Ted Alexander and The Cordels – “Baby You Can Drive My Car” / “Please Go” (with picture sleeve)
Kama L-164 – Heaven’s Devils – “Lonely Girl” (Paul Sparaco) / “Out Of Your Life” (Frederick J. Catella), prod. by Gary J. Sparaco, Kama Music
Kama L-212 – Jerry Carr and the Travelers – “I Laugh When I Should Have Been Listenin’” / “Wondering If I Could Go On”
Kama L-269 – Susie Southworth – “My Heart Could Never Stand (to Be Broken by You)” (Dorothy Southworth) / “Once a Day”
Kama K-712 – JC and the Tears – “Then You’d Better Go Away” (J. Camilli, copyrighted as Jimmy Camilli in 1953) / “What’d I Say” (OV-102)
Kama 775 – Heavenly Flyers – “Mighty Long Time” / “Hallelujah to His Name” (W-167/W168) Kama 776 – Lou Barile (John Mazzae At The Organ) – “He’ll Look Down” / “Prayer” Kama 777 – Eric and the Chessmen – “You Don’t Want My Loving” / “Blue Skies”, L-99-1/2. The labels note “Recorded at Chadwicks Recording Studio”, in Chadwicks, NY, a small hamlet along Route 8 south of Utica, and a few miles east of Clinton, NY and Hamilton College.
Kama 780 – The Ally Kahns – “Gonkletwerp” (instrumental by Gary Brody, Dick Kenney and Charlie Caryl) / “Blue Moon” (W-321)
Kama K-780 – The Avengers – “Reflection” (C. Wheeler) / “Irresistable You” from April of 1967, also recorded at Chadwicks and produced by A. Polacelli.
Kama 786 – Andy & the Classics – “Yaba-da-ba-do” / “Prehistoric Time” (with PS, prod. by Bob Gallo)
Kama 1070 – Audrey De Lia and the Western Aces cut “Kansas City” b/w a version of Loretta Lynn’s “You Ain’t Woman Enough”
Kama 814 – Target – “Give Me One More Chance” / “Cleveland” (modern soul, early 1970s) Kama 815 – Target – “Look at Me” / “You’re So Beautiful”
Kama OV-567 – Tiny Tim – “Howard Cosell (We Think You’re Swell)” / “The Bi-Centennial Song (I Believe in America)” – 1976
Kama 71310 – Sonja Bonness “I’m the Only Woman” / “Black Satin” (1977)
Krishna Records
Krishna TR 2690 – The Roosters – “The Rooster Song” / “Lost And Found”
Lewis Records
Lewis Records 525 – The Starfires “Vampire” (by James Palladino for Kajobe Music, BMI) / “Honky Tonk Twist”, mastering #s W-189 & W-190. The labels read “distributed by Kama Productions, Utica, NY.” “Vampire” also recorded by the Plaids on Stentor – see below.
Lewis 1000 – The Ponzi Bros. Lou & Zack – “Guitar Boogie Twist” / “Channel 98” (Lou Ponzi, Kama Music BMI) (K-71/72) Lewis 107 – The Belairs – “All The Time” (Chuck Weiss, Eddie Mikenas) / “As You Go” (Eddie Mikenas), Kev-Tess Music BMI
Mark Records – extensive discography, see entry on Discogs for more info
Tino & the Revlons – “Black Burma-Mudas and Knee Socks” (R. Demart, B. Rezey; Kama Music Publ.) / “Story Of Our Love” (Mark M-154) The Plaids – “Out To Lunch” (Carl Swanson aka: Mr. Sunshine) / ?, circa 1961 – need label scans for this one.
Stentor Records
Stentor RR 101 – The Plaids (aka the Bel Airs) – “Vampire” / “Creepin'” (Vivenzo) from Stentor Recording Co., Utica. Stentor RB-165 – Brian Wilson & the Del Vues “Blue Skies” / “Blueberry Hill” Stentor RM 101 – Bebo Singleton with Jeff & the Notes “The Shrine of the Echoes” / “Feeny Jones”
The 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 Vibra-Sound Recording Studio and label started in Schenectady or Rotterdam, New York circa late 1966. I’m not sure where exactly the studio was, but New York State business records list a residential address on Crestwood Drive in Rotterdam for Vibra-Sound, and also include a later starting date in 1969, with the business closing in 1992. However, several of the singles listed here such as the Heathens and Delirium are earlier, from sometime in 1967.
Nate Schwartz appears as engineer and also as a representative of the label in an local news item from the early ’70s. Initially the studio was located in Schwartz’s garage, with the control room in the basement without a window between.
Vibra-Sound had its own Vibra label, plus variations like Vibra-Sound, VSS, and others that were customized for the artist. Later productions often share publishing by Robert Barry Music BMI.
Below is a general discography in approximate chronological order of records made at Vibra-Sound / Vibrasound, with my comments.
Any additions or corrections would be appreciated, as well as info on any of the artists listed here.
45s:
Vibra L-103 – Elaine Brooks & the Pushers (Albany/Schenectady) “I’m So Blue” (Brooks) / The Pushers – “The New Thang” (C. Nelson) both published by Kama BMI “The New Thang” is a cool instrumental with saxophone, tambourine and plenty of echo. I’m surprised to see what must be some connection to Kama Productions of Utica, NY in the publishing company (see the end of my article on the Roosters for more info on Kama and related productions).
Vibra L-104 – The Heathens (Schenectady, NY) – “The Other Way Around” / “Problems” (both written by Michael Dellario, arranged by Hooker-Stahl, Petticrew, Sheer & Marquez) Maybe the most well-known garage single of the NY capitol region.
45 scan from the unparalleled collection of Bosshoss
Vibra L-136 – Delirium (Mechanicville, NY) “I Need Your Lovin'” / “Never Comin’ Home” (both songs by T. Sullivan, Wall Music BMI) A very rare single, and musically as good as the Heathens. If anyone has info on this band please contact me.
Vibra L-137 – The Dimensions (Latham, NY) – “The Pilot” / “Dimension Beat” (both by Federici, Federici, Olson and Speciale for Wall Music, BMI) Another fine garage single, According to copyright records from February, 1967, The Dimensions were Martin Federici, Arthur Federici, Dominick Speciale and David Olson. I’ve also found a new clip from 1965 verifying the members of the group.
Vibra Sound 423702 – Sound with Brass – “Shine Down on Me” / “Lollypops and Roses / Wall St. Rag”
Vibra-Sound 121969 – The Changing Times – “Free As The Wind” / “We Gotta Get Out Of This Place” 1969 Good versions of both songs, the capitol region being one of the few places where the Myddle Class had extensive radio play. Label credits for “Free As the Wind” give S. Trimochi, S. Lane in error, as the original song was a collaboration between Gerry Goffin & Carole King, and Rick Philp & Dave Palmer of the Myddle Class.
The Changing Times were from Mohonasen High School, Rotterdam, NY, with members Kurt Eastman, Mark Eastman, Gary Esposito, Bob Launders. and David Cilberti on vocals (thank you to David for his comment below)
USS 102 – The Chimes of Freedom (Scotia, NY) – “Did You Ever” / “Jungle Rock” (Hamilton, Francis, Pytlovany) For more info on the Chimes of Freedom see my post on the group.
unreleased demo – The Concepts (Ravena,NY) – “Faces Come, Feelings Go” 1968. Presumably from an acetate, this track is on the Garage Beat ’66 vol. 2 CD
Hemlock VSS-2/09 – Art Anderson and the Anderson Family – “Don’t Come Knockin’ At My Door” / “I’ve Been Searchin’ in My Dreams” (both by A. Anderson, Robert Barry Music, BMI, ZTSP 140404, 1968)
Knight Records KN-1 – Marshall Hanson and the Hamps – “Dark Clouds” / “Waiting for My Love” (1966, State Music Productions, ZTSC122592/3)
Governor VSS-910 – Bob “Rebel” King and the Knights of Music – “Suspicious Illusions” (R. King) / “For the Good Times”
Al Knight Records VSS 2704 – Al Knight ”Dreaming Dreams of Yesterday”
Zep Records KN-4 Tim Ryan ”Angels in the Front Row”
Scan courtesy of Brian KirschenbaumW.S. Highway 2710 – West Side Highway – “Spring Song” (J. Hochanadel) / “I’ve Got a Way” (D. Vroman) (both Robert Berry Music, BMI, Vibra-Sound 2710, ZTSP 140682/3)
Cobb 81935 – The Universal Set – “Ballad For Linda” / “Memphis Express” (both by E. Locke, Robert Barry Music, ZTSP 144640/1)
Hemlock 81946 – Cathy Lee, Anderson Family – “The Dark Side of the World” / “Our Side” (ZTSP 144893, Vibra-Sound 81946)
Kandy 101 – The Essentials – “Baby You Get to Me” (S. Wheeler) / “Oklahoma Blues” (F. Stay, S. Wheeler) both Robert Barry Music BMI, 1969
Kandy 82042 – The Essentials – “Sunshine Baby” / “Freedom” (both by Squeeky Stay for Robert Barry Music BMI, Vibra-Sound 82042, ZTSP-221980, 1970)
JC 82017 – 2nd Foundation – “Wipe Out” / “I Am The One” (D. Spensley, Robert Barry Music) (ZTSP 221697/8) – instrumentals produced by Johnny Cefala
Katy VSS 2705 Dusty Atcher and River Valley Boys – ”Right, But I Think It’s Wrong”
Little Records VSS-82043, Jimmy Lane and the Incredible 5 – “Deal With It” (J. Lane) / “What Kind of Man” (S. Brooks, J. Wortham) (both Robert Barry Music, BMI, A Little-Mickens Production, ZTSP 222378, Vibra-Sound 82043)
“Wild Smoke” is an excellent 70s rock songBrothers Two 6023-13 – The Lightning Brothers – “Crazy Jane” (W. Braemer, S. Hansen, M Ilnicki, P Ilnicki) / “Wild Smoke” (W. Braemer, P Ilnicki) (both Robert Baby Music, an Albert Perrone Production, pressed by Queen City Album in Cincinnati)
Jinhea DC-100 – Squeeky Stay and Mark Galeo – “Slippin’ Away” / “Mrs. Jones”, early 1970s
Rambler 2712 – Jerry Madore and the New Prairie Ramblers – “Wishing” / “Blue Blue Eyes”
EROS Records VSS 1239 – The Ridgerunners – “Stop, Look and Listen” / “King and I” (Robert Barry Music, produced by Watrobski Enterprises Broadalbin, NY 1973)
CMS 5105-40 – Billy D. Hunter, the Country Joe Revue “My Heart’s Still Doin’ Time” / “Old Five & Dimers” A Conway-Murray Production
476-45P – Bunz Rock Show – “Doctor Rock & Roll” / “Raw Power” (both by S. Atwood, C. Cirrone, B. Deitz, R. Hull, 1976)
Neon Records 6084-24 – Skip Johnsen – “My Friend John” / “I Like You” (1976)
Sit’ n Bull 6072-31 – Night Conference – “I Can’t Give You Anything (But My Love)” / “Kansas City” (1976)
Alan 7054-25A – Alan Burn “Unless You’re Born Again” / “Jesus the Healer” with James Caulfield (backup vocal), and musicians Ernie Burnell, Joe Latorra and Mark Carnival
Here’s a start at the discography of Carl Edelson’s La Salle and Lauren labels, along with related singles by the Shandels and Eddie T. Burke. Much of the talent came from Long Island including the Shandels of Levittown and Wantaugh, and the Taboos.
Cardell Music C-510 – The Shandels – “No Way Out” / “Treat Me Like a Man” both by Johnny Melnick & Eric Stern, C-101/C-102, 1966
La Salle L-370 – David Leigh – “Blowin’ in the Wind” / “One More Town”, L-1/2 La Salle L-371 – The Lemon Sandwich – “Give Me Love” (Eddie Hileman) / “I Must Be Dreaming”, L-3/4
La Salle L-381 – The Shandels – “Shades Of Blue” / “Fifteen Children” (both by John Melnick & Eric Stern, engineered by Joe Dulberg, Feb. 1967), C-165/6 La Salle L-382 – The Taboos – “All My Life” / “So Sad” (T-1, T-2) La Salle L-383 – Elsie Dixon – “It Had to Be You” / “How Ya Gonna Keep em Down on the Farm”, C-167/C-168 La Salle L-384 – The Shandels – “Think About You” / “Barnyard Blues”, C-169/C-170
La Salle L-386 – John Goodman – “First Star” / “Stranger at the Dance” La Salle L-387 – John Goodman – “Think About You” (John Melnick, Eric Stern) / “Rainbow”, produced by the ShanDels, C-182
La Salle L-390 – Carol Durrell – “Shadow Of Your Smile” / “The Look of Love”
La Salle 25 – Ellen & the Shandels – “Gypsy” / “Try A Little Tenderness” (1969 or 1970, also released as Dry Well on Lauren Records 2515)
E.T.B. Records ETB-113 – Eddie T. Burke – “I Must Be Dreaming” / “So Sad” (both by Eddie Hileman for Carldell Music BMI, engineered by Joe Cyr at Variety Sound Studios, CE-15/16
Lauren L-2513 – Tommy Burke – “Give Me Love” / “I Don’t Want to Be Your Keeper” (both by Tommy Burke for Carldell Music BMI, engineered by Joe Cyr at Variety Sound Studios) Lauren L-2514 – Johnny Hayes – “Greenback Dollar” / “Blowin’ in the Wind” Lauren L-2515 – Dry Well – “Gypsy” / “Try A Little Tenderness” (reissue of Ellen & the Shandels 45 above), CE-20/21 Laruen L-2516 – Branded “X” – “Society And Me” (Tommy Burke) / “Tribute to Uncle Sam” (Herner-Auwaerter-Furbich, Carldell BMI, prod. by Tommy Burke at Variety Sound Studios), CE-23/24
I’m not sure if this is the same Lauren label as the ones listed above: Lauren CO 2930 – The Out of Order – “Lonely Sentry” / “It’s Alright” (prod. by B. Jolie, L. Litchfield, T. Messier, Allegro Sound Studios NY, engineers Bruce Staple and Mike Consi, Ranford Music Co., BMI, distributed by Planet Records out of Providence, RI)
The Taboos came from Long Island, New York, cutting only one single in 1967 for La Salle Records. I don’t have much info on the band other than song writer names.
“All My Life” has a subdued start, the keyboard and bass making a three chord vamp while the drummer keeps a steady roll of toms going in the background. The chorus is more conventional, but a real surprise comes halfway through the song, when the bass picks up the pace and the lead guitar starts a Jeff Beck-style psychedelic solo. The song was written by Von Ressler and DeBonis.
Brennan and Palazzo wrote “So Sad”, which has a typical ballad format and singing style but it’s still an effective song.
Larry Hiller engineered the session at Murlyn Studios. La Salle Records owner Carl Edelson published both songs with his Cardell BMI.
A footnote to the group would come a couple years later, when Eddie T. Burke overdubbed a new lead vocal (inferior in my opinion) over the original recording of “So Sad” and released it on E.T.B Records ETB-113. See the post on La Salle and Lauren records for more on Eddie Burke’s release.
Considering the names on the labels of this 45 and the quality of single, it’s amazing how obscure this group called the Buffaloes seems to be. I knew nothing about the group except for their last names and first initial until Mike Kuzmin contacted me with additional copyright information.
The A-side is the jangly blaster, “She Wants Me”, written by George Schwartzkopf, Jr of Old Bridge, New Jersey. It’s a catchy song and I could imagine it being a hit, but seems to have missed. The flip is a ballad written by Arthur V. Walker of Sea Cliff, NY, on Long Island, “You Told Me Lies”. The copyright name for correspondence or refund is listed as Joel E. Shenton of Glen Cove, NY. Both songs published by Impression Music, BMI.
The Buffaloes may have had the first release on the GMC label. Gene Moretti founded the label; he had been director of international sales for MGM-Verve in 1964 after starting in the mail room of ABC-Paramount (according to Billboard).
Joel Shenton contacted me in July 2021 and kindly provided info about the band, GMC and Mayfair Studio.
The band:
Arthur Walker – lead singer / rhythm guitar George Schwartzkopf – bass James (Jimmy) Wolf – drummer Joel Shenton – lead guitar, vocals, keyboard
I met Jimmy during high school years, late 50’s, through a mutual friend who got me interested in guitars. We fooled around as a 3-piece instrumental group until college interfered. I met George, a guitarist, at college. We formed a 4-piece group and played frat parties pretty much every weekend using various drummers including Jimmy, who was at school a few miles away. George decided to play bass, and we recruited a classmate to play rhythm and sing leads. That began our addition of vocals to our group.
After college and eventual return to Glen Cove, Jimmy introduced me to Arthur (“Artie”), and George, although living in New Jersey, joined up and we became the Buffaloes and played a few local clubs.
Gene Moretti lived near Jimmy, got interested, and that was the link to GMC. Gene had a few other musical groups as well, including the “Gumdrops 2”, a girl duet. We backed them up for a few gigs, and Jimmy eventually married one of the pair (Joan) who later became a vocalist for some Buffaloes numbers.
The link to Mayfair came from George. He got married while in college, and his wife was Clair Krepps’ daughter. Clair, at that time, had his own mixing studio (Knickerbocker Sound) on E47th Street in NYC, where he did subcontract mixing and overdubbing for several major NY studios. George and I had access to Knickerbocker and fooled around there on weekends during our summers off from college. Clair eventually formed the Mayfair organization in the theater building of the same name, adding multiple live recording and mixing rooms.
Mayfair was unique when it came to equipment. The control room was designed and built by Clair’s brother (I think) who had an electronics manufacturing company in Chicago. Nothing was conventional, and it became a testing ground for Ampex and Sennheiser. I recall Clair showing us one of the first 8 track and 16 track tape machines he used for recording, provided by Ampex for evaluation. The wall in the main control room was autographed by many well-known artists with comments like, “Fantastic sound,” “Wonderful experience”, etc. I think Sinatra, Streisand, the Stones, and even Hendrix were among the signers.
After the release of our first & only 45, and doing some club work, it became clear to us that our musical future was going to be more for fun than for a career path. We all had decent day jobs, and there was no economic security at our level of dedication and talent. We continued to play for fun, made several demo discs for posterity, but peddling them was rather futile even though we had contacts at UA and Decca.
We went our separate ways in the early 70’s. Jimmy and Artie wound up in Florida, George stayed in NJ working as a chemical engineer, and I moved to upstate western NY to run a plastics factory.
Although it has little to do with the Buffaloes, my interest in guitars and playing continues to this day, although my focus changed from R&R to country music…mostly due to the interests of the local population…and I currently enjoy playing lead guitar for several local bands.
[editor’s note: I’ve changed the spelling of Krepps’ name to Clair from Clare.]
Gene Moretti’s GMC Records announced in Billboard, April 2, 1966
Gene Moretti and GMC Records “a Division of Go-Go Music Corp”
The April 22, 1966 issue of Billboard noted how Gene Moretti would be managing and recording six acts for his new label: “Moretti’s approach is to rely exclusively on the copyrights owned by Impression and draw talent primarily from the three million population Long Island area. All six acts, in their teen and early 20’s, are local boys and girls.”
Billboard announced the Gumdrop 2 would have the first issue on GMC, “Getting Over You” / “So I Try”, numbered GM 10001, However, the Buffaloes single, dated to October ’66 in Teen Beat Mayham, is numbered GM 10000. GMC had about fifteen releases in total, featuring a dozen artists including Priscilla Price, Tony Kaye, Johnny D., Doreen Rose, the Miller Sisters, the Islanders, the Spoilers, Frankie ‘Slim’ Summerville, and Frankie Gracie & the Plastics.
Mayfair Studios
Another interesting connection is the studio, listed as Mayfair Studios (8 Track). Clair Krepps had been a recording engineer for Capitol, MGM and Atlantic Records and also did a lot of stereo percussion albums for Audio Fidelity. About the same time Moretti started GMC, Krepps began Mayfair Recording Studios at 701 Seventh Ave in Manhattan. Other clients would include the Velvet Underground, Al Caiola’s Caiola Combo All Strung Out LP on United Artists, Nico, the Chameleon Church, the Ultimate Spinach, the Beacon Street Union, Puff, Galt MacDermot, Ricardo Ray, Jimi Hendrix, the Mothers of Invention, etc.
Thank you to Joel Shenton and Mike Kuzmin for their help with this article.
If anyone has a photo of the Buffaloes, please contact me!
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.
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:
Daniel Lane (Danny Lutzky) – guitar Richie Winston – 6 and 12 string guitar David Knopf – bass Lloyd Goldberg – drums and lead vocals Eddie DiBiase – harmonica
I was very excited to track down a copy of this 45 only find it to be in nearly unplayable condition – if anyone has a nice spare please contact me!
Mustache Wax came from the Bronx, in Riverdale. This was the last of several lineups and band names they used before breaking up after high school. They recorded the 45 in a studio on 42nd St.
Eddie DiBiase came from Queens and was the connection to Inner Records, though I can’t find any other releases on that label. Eddie wrote the top site, “I’m Gonna Get You” published by Luv Music ASCAP.
I also like the flip, “On My Mind” alternately somber and quick, written by guitarist Danny Lane for Philonic Music, BMI.
The 45 was produced by Epstein-Schwartzberg, yet it’s also “A Vitale-Eden Production”.
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 Savage Generation came from Westchester, NY. Members were Roger Alther of Tuckahoe, Ronnie Fruscianti of New Rochelle, Tom Scarcello and Ray De Angelis of Scarsdale, and Paul Montclare of Eastchester.
