I’ve had this 45 for years but am only now getting around to covering it. I don’t recall ever reading about the band in any detail.
“I’m Grounded” is a well-known psychedelic classic written by Timmy Phelan (Jitters Music, BMI), but originally it was the b-side to “If You Can Put That In a Bottle” written by Billy Meshel for Meager Music, BMI.
The record was released on Tower 372 in October of 1967. The band came from Wantaugh, Long Island but other than that I don’t know anything about the group, nor have I seen a photo of them.
I don’t believe there’s a connection to a release by the Minimum Daily Requirement (singular) on Mercury, “Free the People” / “I Do Believe the Sun Will Shine”.
There are two garage 45s in these lists, Shep & The Downbeats “Girl, Girl” / “You’re Never There” on the Roulette-distributed Satin label from NY, and Gary & Kyle “Stay With Me” / Smaller Than You” from San Antonio.
Any help with completing these discographies would be appreciated.
I could also use good quality scans of the San Antonio label 45s, and of the Adophus Bell
1st pressing distributed by Roulettelater West Coast pressing
New York:
All labels read “Exclusively distributed by Roulette Records” except for a green label with plain black text version of S-400, Annabelle Fox’s “Getting Through to Me”, which Mike Markesich states is a West Coast pressing and not the first issue.
The first three releases come in promo white label and two-tone green labels. 402 and 403 only seem to exist with promo white labels.
Satin S-400 – Annabelle Fox – “Too Good to Be Forgotten (Bell 40,004) / “Getting Through to Me” (mastered at Bell Sound 40,002) Satin S-401 – Al Hibbler – “Good for a Lifetime” / “Once Before” (Bell Sound 40,005) Satin S-402 – Annabelle Fox “Lonely Girl” / “Humor Me” (Bell Sound 40,003) Satin S-403 – Shep & The Downbeats – “Girl, Girl” / “You’re Never There” (both by Ted Kobran) (produced by Rama Wilson Associates, Bell Sound 40,009/10)
All except Shep & the Downbeats produced by Teddy Rendazzo, and published through South Mountain Music, BMI.
Most of the Rendazzo produced 45s have song writing credits to some combination of Rendazzo, Bobby Weinstein, R. Allison and L. Stallman.
Kurt L. sent me the scan of Shep and the Downbeats. Kurt remembers hearing that the band won the WABC Battle of the Bands, with a recording contract with Satin being the prize. The group played at Martin Van Buren High School in Queens Village, and likely were students at that school. The only name I can find in connection with the group is Ted Kobran.
Teen Beat Mayhem says the band was from Union City, New Jersey and gives a release date of August, 1966. Although “You’re Never There” rates higher than the flip in TBM, I think “Girl, Girl” is the better song.
Shep & the Downbeats has a “Rama Wilson Associates” production credit. This should read Ramal-Wilson, as in Bill Ramal and Marty Wilson. They had previously produced singles for Diamond.
A notice from Billboard’s October 22, 1966 issue states”new artists added to Ramal-Wilson Associates are Shep and the Downbeats, the Upper Crust, Gary Criss, Bruce Bruno and Carole Colby.”
Another Billboard notice from May 21, 1966 mentions Ramal-Wilson Associates producing the Ramblers on Red Bird and the Perfect Strangers on Capitol. “All sides were arranged by Joe Scott, staff arranger for Ramal-Wilson.” However, I’m not aware of any releases by these other artists.
New York (probably no connection to the later Satin label, above):
Satin 921 – Rhythm Rockers featuring Johnny Serrano – “Oh Boy!” / “We Belong Together” (Norvojak Music BMI) (October 1960)
New Orleans:
Satin 2-100 – Tammy McKnight – “What’s Her Name” (E. Darder – Allen Orange) / ? (SoN 1591, Chavis Music BMI, A Hi-Liter Production) Satin 2-101 – Al White & The Hi-Liters – “Johnny B Goode” / “Let That Guitar Roll” Satin 2-102 – Alex Spearman – “Mama-ka-toko-laka-poo-poo-yay” (L. Bonds) / “On Our Wedding Day” (Emelda Music BMI, SoN1561))
San Antonio, Texas:
Owned by Emil Henke, who also owned Warrior and part of Harlem. Mr. Henke passed away on February 22, 2002.
pink label with ribbon “S” in Satin. 411 S.W. Military Dr., San Antonio and “Emil J. Henke Production”:
Satin SA-001 – The Satin Kings – “Let’s Go, Let’s Go” (Ballard)/ “Matilda” Satin SA-002 – Charlene – “Rock Bottom”/ “Let’s Try Once Again” Satin SA-003 – The Mavericks, vocal: Moe Bandy – “Lonely Girl” / “Too Many Times Before” Satin SA-004 – The Trochais – “Give Me An Answer” / “Phantom” (both by Francis Akeroyd, 1966, B-side is a surf instr) Satin SA-005 – The Mavericks, vocal: Moe Bandy – “What Would You Do” / “As Long As There’s A Chance” Satin SA-006 – Satin Kings – “Mil Veces” / “Echale un cinco al piano” Satin SA-007 – Gary & Kyle – “Stay With Me” / “Smaller Than You” (both by Gary Young, Satin Music Pub SESAC, June ’66, duo from Poteet, TX) Satin SA-008 – Bailey Anderson – “Folsom Prison Blues” / “They’ll Never Take Her Love From Me” (6-66 1) Satin SA-009 – Moe Bandy & the Mavericks – “You’re Part of Me” / “Hey There My Friend” Satin SA-010 – Paul & Chuck – “House Of Blue Lovers ” / ? Satin SA-011 – Playboys – “Dame Licencia” (Hazme El Milagro) / “Nomas Por Quererte” (7-66-2) Satin SA-012 – ? Satin SA-013 – Playboys – “All I Do Is Cry” / “Little Playgirl” (Robert Suarez) 8-66 PB-3/4
pink label with a script “Satin” and no ribbon:
Satin SA-014 – Bailey Anderson & the Satin Gentlemen – “What Will The Answer Be” (Dayton Smith) / “The Satin Gentlemen” (1066 BA 4) Satin SA-015 – Playboys – “Falling In Love With You” / “Let Them Talk” (Joe Seneca) (LH-2836/7, December 1966) Satin SA-016 – Conjunto Los Navegantes – “Te Fuiste” (Rosendo Torres) / “Navegando” (Adolf Garcia) (167-CLN-1/2, LH-2876/7 “Spanish Series” Satin Music Pub)
stylized Satin logo on left with two lines above and below:
Satin SA-021 – The Ones – “Sure Gonna Miss You” (often marked up to read “Sure Gonna Miss Me”) / “What’s It Like To Be In Love” (LH-3299, 1967)
Satin SA-024 – Jimmy Payne, The Country Boys – “Standing at the End of My World” / “A Wound Time Can’t Erase”
two-tone label with Satin Records in box (except for SA-028 which reverts to the original ribbon S):
Satin SA-025 – The Lively Set – “Soul Diggin'” / “Blues Get Off My Shoulder” (vocal by Earl Adams)
Satin SA-027 – Jim Faber – “Just for a Moment” / ? (country) Satin SA-028 – The Casino Royal – “Don’t Mistake Me for a Fool” (D. Cruz, T. Zamudio) / “Return Of The Prodigal Son”
Satin SA-030 – The Three Dudes – “Sad Little Boy” / “I’m Beggin’ You” (Jan 1968, group aka Four Dudes, Images) Satin SA-031 – Michael Lord – “(Life’s a Ball) Lovin’ It All” (H.M. Byron) / “Its Only Make Believe” (Twitty)
Satin SA-033 – Nat y Los Music Makers – “Una Eternidad” / “Por Ultima Vez”
Satin SA-035 – Bailey Anderson – “The World’s Youngest Naughty Old Man” / “There Goes My Everything” (1969)
Satin SA-037 – The Satin Souls (vocal by Madison Mitchell) – “Gimme Some Lovin'” / “I’d Rather Go Blind”
Satin SA-041 – Michael Lord & the Romainaires – “St.James Infirmary” / “Take Five” (1969)
Satin SA-047 – Clique Camarilla – “The Ride” (Donny Leavitt) / “The Hello Song” (Prod. by M. Montgomery for Sabra Prod., Riviera Music BMI, 4-69-1)
Satin SA-061 – Ty Lemley – “Ramblin’ Ways” / “One Day at a Time” (country 45)
The Casino Royal is the same group as the Casino Royale on Key-Loc.
Pennsylvania (?):
Satin SAT-1111 – Adolphus Bell & the Up Starts – “Black Eye Peas” (C.A. Bott, W. Hutchingson, Joy Boy BMI) / “Lafin Gas” (C.W. Powell, D. Bell, S. Godfrey, Cevet BMI) (1031-45-SAT1111)
Blues Art Journal has an article on Adolphus Bell but the author seems unaware of this recording.
Plainview, Texas:
Satin RHB-1120 – Harry Bray & the Wheels – “I Lost My Love” b/w “Way Down South in San Antonio” (SoN 84892) country with drum machine!
Ogdensburg, NY:
Satin SR-561 – The Four Satins – “Drop Off” (Larry Costigan) / “Hip Hop”, possibly Jimmy Massia lead vocals (see this post on Utica entertainment for a little more info)
There was also a Satin label out of Washington state in the 1970s that had a 45 by the Main Attraction.
Thank you to Max Waller, Kent Chatellier, Michael Recendez, and Martin Hancock for their additions to this discography, and to Max for the Gary and Kyle scans.
Kevin Longendyke sent in scans and transfers of a demo cut by Sound Incorporated at Broadway Recording Studios, 1697 Broadway, NY. Kevin wrote, “I found it in Harrisonburg, Virginia. The owner of the store used to have a shop in Georgia somewhere. So they could from anywhere I guess.”I have no info on the band, other than that someone has written on the labels the names Chris, Bob, Dave, John and Joe. The overall sound is poppy, commercial and well-produced. Both songs are good and either could have had some success as a single.”I Love That Girl” starts off fast and upbeat, but has a slow middle passage.
“Love Is a Gamble” has a good, if familiar hook and interesting bridge.
The Ground Floor People cut two fine singles, first “Walking on Eggs” / “It’s All Right Now”, produced by Ronnie Eden and Joe Simmons on Parfait 101, from September, 1966, then “Treat Me Better” and “Workaday World”, produced by Morty Croft and Ronnie Eden, and released on Mercury 72719 in mid-late 1967.
Tom Ciulla wrote to me and answered my questions about the group:
The Ground Floor People was my group and I played drums and wrote songs. My brother Don Ciulla originally put the group together. He played rhythm guitar and lead vocals. Lead guitar, Tommy Morrow and Freddie Davidson on bass and background vocals. I played drums and sang lead, background vocals and did the screaming (“Treat Me Better”). I came up with the name “Ground Floor People”. We usually rehearsed in a ground floor apartment or basement. Everyone was from Brooklyn.
We were playing in a club called Freddie’s. The owners were trying to sell the place. The group became very popular and after a few months there was a line down the block. The owners decided not to sell and we played there for over nine months. I am pretty sure that was where we met Ronnie Eden (Edelstein).
Joe Simmons was a real sweetheart. I wrote “It’s All Right Now” with Joe and collaborated on another song that I wrote and he did the arrangement on. It was called “My Man’s a PHD”. Ronnie Eden produced the session and discovered a young “Aretha type” singer to record the song. I remember Ronnie saying that he got a drummer, Perdie Persaval [Bernard Purdie?], who he said played for James Brown, and Perdie got the other musicians to sit in on the session.
Q. I haven’t heard of a Perdie Persaval, but Bernard Purdie played on tons of NY sessions, including one with James Brown.
That was probably the guy. How many drummers named Purdie could there be?
Ronnie claimed he operated on a tight budget. We never had a chance to correct anything in the studio. Like Don Krantz [of Yesterday’s Children, also produced by Eden] said about the bad note on his recording. We all thought the songs “Wanna Be With You” and “Feelings” were really hit tunes. I never met anyone from Yesterdays Children.
I realized later on Ronnie was more interested in having the publishing and recordings of the artists than the quality and promotion of the production. He told me on several occasions he had publishing on several hit songs and recordings that he produced before they were successful. Unfortunately, I made several recordings but was unable to hold on to any of the demos.
My brother was drafted and the group broke up. I played with a few different bands for a while and eventually put together the second Ground Floor People. Sammy Sicalo, lead guitar, George Mandel on keyboard, and Tony Radicello on bass and lead vocals. I played drums and sang lead, background vocals as well. I wrote “Treat Me Better” and “Work A Day World” with Tony. When Ronnie got a recording contract form Mercury records, Tony and I wrote two more songs, “Wanted To Be With You” and “Make A Little Room”. All four songs were recorded at the Mercury session. I always felt “PHD” and the last two tunes at Mercury were my best efforts.
Tom Ciulla
“I Wanted to Be With You Girl” / “Make a Little Room” would show up on a 45 by the One Way Street on the Boutique label, both songs credited to Anthony Radicello, Jr., Tom Ciulla and Ronnie Eden for Impeccable Music, BMI, with production by Ronnie Eden.
Ronnie Eden’s name only comes up in Billboard in conjunction with Ted Black. Together they sold masters by John Gary to Cameo/Parkway and were sued for it by RCA (Billboard, November 13, 1965).
Tom also tipped me to this article about Ronnie becoming New Orleans record shop legend, Record Ron, who passed away in 1996. I used to go to Record Ron’s shop during the two times I lived in New Orleans in the ’80s and ’90s, but I had no idea of his previous career as a producer.
The Ducaines, circa 1967, from left: Tommy Mariani, Jerry Silber, Freddy Baroni, Art Lent and Marc Laflotte
The Ducaines came from the same Bronx music scene as the Elegant Four. They recorded two songs at Variety Recording on 46th Street in Manhattan which deserved a release, but have remained unheard until this year. Founder and lead guitarist Art Lent wrote to me about his group and sent the photos seen here:
I formed the The DuCaines in 1964 and they lasted until 1969. The original members when I formed The DuCaines were Jerry Silber (bass), Charley Vicari (rhythm guitar), Joe Barbato (drums) and myself, Artie Lent, on lead guitar. I replaced Joe when I was introduced to Freddy Baroni and he played the drums at his house for us. What a great drummer!
We played many of the Catholic high school dances in the upper Bronx. We also performed at the Worlds Fair held in Queens, New York. The singer was Tony Lavell (a stage name) and the rhythm guitar was Charlie in this early group pictured at the Fair. We played on the New York State Pavillion stage.
Early version of the DuCaines at the New York State Pavilion, World’s Fair, 1964 From left Freddy Baroni, Art Lent, Charlie Vicari, Tony Lavell (Bavaro), and Jerry Silber
Our very first recording, “How Do I Love Thee” was also done at Variety Recording studios in New York. I believe I was about 14 years old. The DuCaines was brand new with Joey on drums, Jerry on bass and myself on lead. I don’t believe we had a rhythm guitar yet. We were asked by a local singing group called “The Provincials” to back them up since they didn’t play instruments. They had a great lead singer. The DuCaines did a few shows with them around the high school dances. This recording [is] from my demo record so it’s a little scratchy.
Freddy Baroni and bass player Jerry Silber stayed with me as I changed members during the years. I later replaced Charley and Tony with Marc Laflotte as lead singer/rhythm and Tommy Mariani on keyboard. We needed them because we wanted to do songs by the Rascals, Vanilla Fudge, Vagrants and other similar bands. We later bought a Hammond B3 like many other top bands back then like the Rascals. We were the house band for many of the WMCA Good Guy radio shows at the high schools. We played in concert at Cardinal Spellman High School as the opening band for The Vagrants.
We later lost Marc for some reason and Joey (?) came in as lead singer and rhythm guitar. These are the members that recorded two songs I wrote and copyrighted at Variety Recording studios in 1966 or 1967, “Little Angel” and “I’m New”.
We only had demo records made at Variety, we never had the record pressed into a 45 for release. We were waiting to get some more songs together. I took the original Scotch 8 track tape to a studio in Tampa Florida just a few weeks ago and after much work was able to get it to play. He moved the two recordings after 45 years plus to a digital software and him and I sat in his studio and remixed each track for 2 1/2 hours.
A few months after the recording our bass player left for the Army. Joey filled in on bass and sang lead. He left for school soon after Jerry returned from Army reserve training. Then I left to join the US Marines and went to Vietnam. The band broke up a few months later. The DuCaines merged with The Elegant Four after I left to join the Marine Corps. I believe the Elegant Four were calling themselves Windigo at the time.
Art Lent
Update, January 2011:
Fred Baroni’s stepdaughter wrote to say Fred passed away of esophageal cancer in April of 1995 at the young age of 45.
From left: Tommy Mariani, Jerry Silber, Art Lent, Marc Laflotte and Freddy BaroniThe DuCaines at Variety Recording, circa 1967 Clockwise from bottom left: Art Lent, Jerry Silber, Joey Barbato, Tommy Mariani and (center), Freddy BaroniThe Ducaines first high school dance, 1964: Joe Barbato on drums. Jimmy Skau, founder and manager of The DuCaines, is standing off stage on far left. Tony is next to him off stage sitting waiting to come out and sing. Front stage left to right Jerry, Art and Charley on guitars.
Artie Lent sent in these photos of him and his son on stage with the Bronx Wanderers. Artie writes, “these are the pictures of when my son played on stage with me this past February 2020. He’s playing the Fender Jazzmaster that I played in the 1960’s with The DuCaines.” Read Jason’s blog post on the Ducaines & the ’60s Bronx music scene.
The Other Half at Chadwick’s Recording Studio in Utica
Brian Kirschenbaum submitted this article on the Other Half a band from Oneonta, New York. The band cut one folk-inspired 45 at Bell Sound, “It’s Been a Good Day” written by Glenn Schenenga and the excellent “I Won’t Be Back” by Glenn and Jeff Lyman.
Bassist Pete Lipsio wrote this history of the group and gathered the photos seen here.
The Other Half was organized in 1965 at Hartwick College, Oneonta New York; the members being Jeff Lyman (vocals), Steve Harrigan (lead guitar and keyboard), Peter Lipsio (bass), Glenn Schenenga (rhythm guitar) with Ed Welsh, Bob Kirsch and later Bill Pegler (drums). In the beginning there were but two individuals, (Harrigan and Lipsio), living in the same dormitory, who would get together to play their guitars. This duo soon found a local drummer in Ed Welsh with an existing band and a weekly venue at Molinari’s, a local bar and restaurant. While practicing together they attracted the talents of rhythm guitarist Glenn Schenenga and vocalist Jeff Lyman.
The group thus formed soon replaced that which was performing at Molinari’s and began to attract large crowds of college students from both Hartwick College and the nearby Oneonta State University. As their litany and variety of songs increased and matured, Steve further improved the groups sound with the addition of a Farfisa organ; alternating between same and lead guitar as a particular song required. While Steve played the keyboard, Glenn would assume the role of lead guitar and Peter that of Rhythm while Jeff carried on with vocals and an occasional guitar performance. It soon became obvious that their music needed more depth and thus Peter began playing a Fender Jazz Bass through a Fender Dual Showman amp. Jeff added a new Bogen sound system and Binson Echorec reverb while both Steve and Glenn increased their respective sound with a succession of larger and more powerful amplifiers and additional instruments.
The Other Half at Chadwick’s Recording in Utica
Shortly thereafter, the band recorded their first two hits at Bell Sound (later Bell Records) in New York City. Sales of the record proved to be a local phenomenon and the group acquired an ever increasing and widespread popularity with a television performance on Hank Brown’s “Twist- A-Rama in Utica.A new drummer and fellow college student, Bob Kirsch, soon replaced Ed and the band began an ever increasing spiral of popularity. Their music eventually attracted the attention of Gene Kipper, a well known agent and promoter based in Utica, New York who signed them for various performances throughout New York State.
The band continued to perform together throughout the Southern Tier of the North East; opening for The Rascals during the spring of 1967 while playing at numerous locations such as the Evening Inn and the College Inn at Saratoga New York, where they were booked for that entire summer. The band’s drummer, Bob Kirsch, a pre-med student, transferred to Wake Forest College and a new drummer and fellow Hartwick student, Bill Pegler, was obtained to be the group’s percussionist.
The band continued to play together with numerous performances throughout the school year of 1968, at the end of which, most of the members graduated and went about their individual lives. For the most part, the members of the band are now retired professionals who long ago left their musical roots to pursue different careers. In August of 2008, following a forty year hiatus, the assiduous efforts of Glenn Schenenga, reunited the members of The Other Half in communication with one another. Though now living in different states, the members are planning a reunion for the near future.
While unaware of this at the time, current research has demonstrated that there were two other contemporaneous groups with the same name. One being in Chicago and the other a West Coast band, each of some regional renown.
The years spent together, while in The Other Half and at college, hold a particular significance for each of the members, who consider this time in their lives to be among the most memorable of events wherein were formed the bonds of personal commitment to their music and a lasting friendship.
Pete Lipsio
Other Half vocalist Jeff Lyman at the Evening InnAt the Evening Inn
Rhythm guitarist Glenn SchenengaPete Lipsio at the College Inn
At the Evening InnIn the 60s this became the College Inn at Saratoga Lake
The Kynds, from the Schenectady Gazette, September 16, 1966
The 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:
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.
Jimmy Peterson, photo courtesy of the Peterson family
“Electrified People” is a funky instrumental with a rhythm that kind of follows “Who Do You Love” while an anonymous guitarist throws in repetitive fills with shameless use of the wah pedal. “One Thousand Dimension in Blue” has a more conventional blues structure, the guitar isn’t as wild and there’s a cheesy echo effect placed on the snare drum.
The 45 was mastered at Bell Sound, and issued on Red Lite Records 113. David Gordon commented below “definitely 1971, issued approx. June / July – the label was based in New York and was connected to DeLite (Kool & the Gang, etc).”
For years, I mistakenly thought the Jimmy Peterson credited on both sides was the Chicago-based songwriter, producer and singer who cut 45s on Limelight and Chess. However, I now realize that the Jimmy Peterson who is credited on the Electrified People was recording mainly in New York. Not only was Red Lite based in New York, but a conversation with his son, whose mother is Yvonne Daniels, who also recorded on Red Lite, confirmed this info. To make matters more confusing, there was a different Yvonne Daniels working in radio in Chicago!
Jimmy confirmed that the Electrified People an actual group, not just a studio creation, and that Yvonne Daniels was a member.
Jimmy Peterson wrote and/or produced or arranged on all four of Yvonne Daniels’ singles, including “I Got to Get Close to You” / “Spread the Word” on De-Lite DE-451 and “Super Soul Music” “I Got to Get Close to You” on Red Lite 117, and her earlier singles on Roulette and Sterling.
This is the only other De-Lite or Red Lite 45 that I can find Jimmy’s name on, but he has a long list of credits and his own singles on Federal, Barry, Roulette, HoMark, Fox Fire and other labels.
Red Lite discography:
Red Lite RL 102 – Crystal Ship – Mary Jane Fletcher (Michael Berardi and Richard Berardi) / Lovin’ Stuff (Richard Berardi) (Produced by Bob Yorey)
Red Lite RL 111 – Johnny Desmond with Candullo-Val Blues Band – Red Lips / Jim Webb – Didn’t We (with PS)
Red Lite RL 113 – Electrified People – Electrified People / One Thousand Dimension in Blue Red Lite RL 114 – Dennis Robinson – Hard to Handle / Unchained Melody (prod. by Larry Philips, arranged by Barry Alley) Red Lite RL 115 – Piccolino Pop Strings – Clown Town / Vous Etes Beau (both written by Gladys Shelley) Red Lite RL 116 – Sammy Taylor (and Hot as Hell) – Something the Devil’s Never Done / Send Her Back (Sammy Taylor) Produced by Melting Pots) Red Lite RL 117 – Yvonne Daniels with the Electrified People – Super Soul Music / I Got to Get Close to You Red Lite RL 118 – Underground Lite Bulb Co. – Evil Ways (L. Zack) / Happy People (P. Martone) produced by Vince Castellano and Bob Yorey Red Lite RL 119 – Jean Battle – Love Making / When a Woman Loves a Man (both songs written and produced by Sam Dees)
Thank you to Jimmy for setting the record straight about which Jimmy Peterson was the correct one for this record and for sending in the photo of his father.
Apologies to Joe Pytel Jr. for removing the photos and info he sent me of the Chicago-based producer, but that is a story for another post.
I grew up on 34th Street with Barry Bozzone though I was a few years younger. The Poor Soul’s covered many of The Primates’ songs including “Fate”. I don’t believe The Primates recorded a studio version of the song.
Earlier this year, our lead singer, Phil Borgia sent me The Poor Soul’s recording of the song, made in the late 60’s. It was put on tape by Phil’s uncle, using a guerilla recording technique during a rehearsal i.e., using a microphone placed in front of the room plugged into a reel-to-reel deck.
Unfortunately, no one has been able to find photos of the band though I know we had enough taken that some should still exist. I have the band rehearsing on converted 8mm film that was put on 1.2 VHS and then converted to digital media.
The Poor Souls business card [to the right] was very unusual. My father designed it, he was a graphic artist.
After our bands split up, Barry and I played together in a number of bands with only limited success. We also co-wrote quite a few songs though our careers in other fields short-circuited any chance for popularity. However, we have reconnected too after 40 years and we are making plans to reunite, at least on one song we think has a fighting chance in the Christian song market.
I’ve been living in Mahwah, NJ for the last 12 years or so. My former bandmates are all on the east coast – two in NY, one in PA and one in North Carolina. The five members of The Poor Souls (sans Mark) are reuniting for the first time in over 40 years this weekend. I’ve attempted to find Mark on several occasions but no luck.
Rick Grande, November 2010
Here is some great 8mm film of the band, with “Fate” and their version of “C.C. Rider” / “Jenny Take a Ride” added as a soundtrack.
2010 reunion, from left to right: Rick, Joe (Mac), Phil’s daughter Lorissa, Vinny and John
Rick also sent two interesting photos of Hy Fenster’s Universal Rehearsal and Recording, a studio which is still in business at the same address, 17 W. 20th Street in Manhattan.
Universal Rehearsal and Recording
Tascam founded in 1971, so this photo must be no earlier than that year.
The Intruders were from the small towns of Glenville and Scotia, outside Schenectady, New York. They were students at Burnt Hills-Ballston Lake and Scotia-Glenville High Schools and formed the band in 1964.
Carl Buell – vocals Mark Hecker – lead guitar Mark Ernst – rhythm guitar Mike Collins – bass guitar Snooky Mercoglan – drums, replaced by Warren Droms
They recorded their 45 at WRGB studios in Schenectady. The number RK4M 5992/3 indicates an RCA Custom pressing from 1964.
Mark Ernst has a very cool website on the Intruders and his later career, though he doesn’t say what happened to the group after releasing the single. Presumably, they broke up as members graduated school.
The A-side features the slower “What Kind of Girl Are You”, which starts out with a great bluesy riff and has some good soloing as the song fades.
The flip, “Hey Hey” is a good rocker.
“Hey Hey” was written by Marc Hecker, Mark Ernst and Carl Buell, with credits to AC Production and Intruders Music. “What Kind of Girl Are You” was written by Hecker and Buell.
Thank you to Brian Kirschenbaum for the scan and transfers of the 45.
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
but am only now getting around to covering it. I don’t recall ever reading about the band in any detail.
pink label with a script “Satin” and no ribbon:
Primates
The Intruders were from the small towns of Glenville and Scotia, outside Schenectady, New York. They were students at Burnt Hills-Ballston Lake and Scotia-Glenville High Schools and formed the band in 1964.