The Bourbons are something of a mystery group. I have never seen a photo of the band and don’t know most of the names of the group.
Lee Poundstone is the Lee credited with writing the songs on their only single.
Ricky Jones left a comment below saying he played keyboards with the group.
I’ve found two notices for one of the Bourbons rare live shows, at Teen Town on 3524 S. New Braunfels in San Antonio on October 21, 1966. Their single on Royal Family 45-267 dates to March, 1967 according to Teen Beat Mayhem. I suppose the 267 release number must fit into Bob Tanner’s TNT pressing plant list, as TNT Music published the songs.
At The Casket in Kerrville – same band?Both sides are classic Texas garage, “A Dark Corner” having a guitar line something like the Elevators’ “Roller Coaster” but with more menace to it.
“Of Old Approximately (A Time for a Change)” has a great sound, from the wailing harp to the buzzsaw guitar.
I found another notice for the Bourbons playing at The Casket in Kerrville, an hour’s drive north west of San Antonio in July, 1967. It’s possible this is not the same group.
If anyone has a photo of the group or knows something about the Bourbons, or the other groups on these listings: the Gothics, the Aggressors, the Catalinas, the Spidels, Mods and the Sound, please contact me.
Ricky Jones told me “the Aggressors morphed into Band Ayd after Terrell O’Neill (of the former Cave Dwellers) joined the band as lead singer.” I am hoping Ricky will provide more info and some photos of the band.
Lee Poundstone has a credit for playing bass on Rosalie Sorrels LP on Sire, Travelin’ Lady, though I don’t know if this is the same person.
Here is a truly unknown single by the Odyssey, “Just to Be” b/w “Sunday Time” on Yorkshire Records YO 154. I’m not sure of the pressing date, but Leonard Novarro registered “Sunday Time” with the Library of Congress in July, 1968.
I couldn’t find a Library of Congress registration for “Just to Be”, but BMI lists the song as “Just to Be the Way I Want to Be” with Warner-Tamerlane.
Leonard Novarro, Vincent Leary and Richard Nusser co-composed the song.
Richard Nusser may have been the columnist for the Village Voice.
Vincent Leary may be the same Vinny Leary who played guitar with the Fugs on their earliest albums, and again in the mid-80s. Vinny Leary was also an engineer at Variety Recording Studio. This was one of only two song-writing credits he has on BMI, the other being co-composer of “Virgin Forest” with Ted Berrigan and Lee Soren Crabtree; there is also a “Benson Leary” credited on the Fugs’ “Doin’ All Right”.
David Gornston’s name appears as publisher. Ten years prior Gornston published a number of Big Bob Dougherty’s songs on Golden Crest: including “Honky”, “Squeezer”, “Lover’s Love” and “Lorelei”.
Golden Crest was based in Huntington, NY. I’m not sure where Yorkshire Records was located, but the label produced other good singles by the Dolphins, from Larchmont, and the Saxons, from West Palm Beach.
Leonard A. Novarro registered many other copyrights. Although the Odyssey labels spell his name as L. Navarro, it seems Novarro is correct. So far I haven’t discovered if any of the following were recorded:
In August 1967, Novarro registered “Don’t Disturb the Artist” and “Gypsy Man”.
In January 1969, using the pseudonym Gideon, Novarro registered “Candy Buttons”, “Dusty Shoes”, The Homecoming”, “Lady Liar”, “Sweet-Talkin’ Child”.
In May of 1970, he registered “Baby’s Sleeping”, “Sunny Day Woman” and “Time Again”, and in August “Hear My Warning” and “Legend of a Love Child, Linda” (echoes of Donovan on this title).
Thank you to J.W. Honeycutt for alerting me to the Odyssey single. Some info on Vinny Leary came from Mr. Smith, the Sybarite Who Also Was a Teacher by Warren Allen Smith.
Here’s an odd single by The Pottery Outfit, which seems to be Randy Fuller collaborating with Howard Steele on one side and Johnny Daniel on the other.
“Captain Zig-Zag” is an unabashed tribute to rolling papers: “the happy paper maker, makes the paper to make you merry, accompany you to the land of mari…” and “this paper will help you ease your mind”.
The R. Fuller – H. Steele credit suggests Randy Fuller and bassist Howard Steele. Publishing through Brave New World, but I can’t find any record of copyright registration.
The music backing is excellent, possibly featuring Mike Ciccarelli on lead guitar and DeWayne Quirico on drums.
Between the suggestive lyrics and trademark issues, it’s no surprise this was not released beyond a few white label 45s with a blank label B-side.
In 1966, Randy released his first single under his own name, “It’s Love Come What May” / “Wolfman” on Mustang Records 3020. He recorded two songs for a follow-up single on Mustang 3023, which never saw release. One of these, “Things You Do” showed up as the B-side of the 1967 UK release of “It’s Love Come What May” on President Records PT 111.
Blank label plays Randy Fuller’s “Now She’s Gone” The other song from that unreleased Mustang single, “Now She’s Gone”, appears on the blank-label B-side of the Pottery Outfit. Randy Fuller and John Daniel co-wrote both “Things You Do” and “Now She’s Gone”. John Daniel’s full name appears in BMI as John Calvin Daniel.
Released on Edsel 777, the Pottery Outfit has Δ69864 in the run-out of both sides, dating it to January or February 1968 (possibly December 1967).
I’ve read that “Now She’s Gone” is on the B-side of his second single on Showtown, “1,000 Miles into Space”, but I haven’t actually seen a label with that song. I’ve only seen promo versions that have “1,000 Miles into Space” on both sides – can anyone confirm this?
The Four of Us came from Queens, NY, though I’m not sure which neighborhood.
“I Don’t Need No One” is good tough garage with sax, written by Joseph Guido, Stephen Guido, and Jose Maldonado, all probably members of the group.
“I Don’t Need No One” was reviewed as the top side in Cash Box in January, 1966: “Raunchy funky shouting tune based on an everpresent solid beat. Strong guitar and hard vocal work could start this one off toward being a biggie.”
The flip is the more pop “Iga Diga Doo”, technically the A-side, written by Harold Onderdonk, George Bonetti, Tom Cox, and Jim Carrick. Merrimac Music Corp. published both sides. This team also wrote “Stomp ‘Em Out” for the Exterminators on Chancellor CHC 1148, the flip to “The Beetle Bomb”, but were not credited on the label. Ding Dong Music Corp published “Stomp ‘Em Out”, registering copyright in April, 1964 (March, 1964 for “The Beetle Bomb”).
The Four of Us was released on Brunswick 55288. Producer Harry Goodman was Benny Goodman’s brother.
I would appreciate more info or photos of the group.
Joey Guido and Jose Maldonado (as Jose Mala) formed the Koala with Anthony Wesley, Joe Alexander and Louis Caine, releasing an album & single on Capitol in 1969 featuring all original songs by Guido and Maldonado. In 1974, Jose Mala replaced Eric Emerson in the Magic Tramps.
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.
The Lorey’s (or Lorries) came from Sparta, Ohio, a small town northeast of Columbus.
Original members included:
Ted Fuller – vocals John Boston – lead guitar Murv Mast – rhythm guitar Ernie Duncan – keyboards Larry Roades – bass (replaced by Bob Steinbrink) John Hinkle – drums
The group competed at the Northland Shopping Center 3rd Annual Battle of the Bands in 1967, and though they did not place in the competition, their song “Don’t You Dare” appears on the album.
The lineup changed often, eventually replacing every member but the rhythm section of Steinbrink and Hinkle:
Steve Baker – vocals Aaron Kerns – lead guitar Herb Sample – rhythm guitar Ed Hartman – keyboards Bob Steinbrink – bass John Hinkle – drums
Steve Baker wrote two original songs, “Goin’ Downtown” / “Ready to Go” which found release on Cathay Records. Both songs were registered for copyright in February, 1969.
Cathay was named after Kathay Whitney, who was president and manager of Monte Verde Publishing. Billboard listed Monte Verde with a South Charleston, West Virginia address in 1969, then a Watsonville, CA address in 1970 and ’71.
The Loreys release on Cathay has an address of Rimrock Records in Concord, Arkansas, but most others on the label list Nashville and at least one notes Flint, Michigan. It was primarily a country label.
The Fabulous Chevelles cut this one record in the spring of 1965. The singer on “I Want a Girl for My Birthday” asks for a girl who “is on the ball” and “on the square”; he’s even willing to let his mother choose the girl for him.
On the flip, “She Loves Me”, he pleads that his girl is faithful, despite reports to the contrary.
Copyright registration from April, 1965 shows James Frederick Brumfiel and Ed Breeden wrote both songs.
I can find both Jim Brumfiel and Ed Breeden listed in the National Road Traveler newspaper of Cambridge City, Indiana, but no mention of the Fabulous Chevelles. Cambridge City is 15 miles west of Richmond, Indiana, and an hour’s drive east of Indianapolis.
It looks like the band released the single on their own Flip Records 45-100 with a terrific cartoon logo.
Edwood Music published the songs, and Edwood Publishing still exists in Cincinnati. BMI’s database lists “I Want a Girl for My Birthday” as by Deacon Brumfield, but I believe that is a mistake, as Deacon was a bluegrass Dobro guitar player and certainly older than the teens who made this record.
I’m not familiar with Parker Records, Dist. of Richmond, Indiana.
Cash Box March 5, 1965I have to thank Lee Bryant for tipping me on to Jim Weatherly’s stomping single, “I’m Gonna Make It” on 20th Century Fox 565.
J.D. Lobue and Leland Russell wrote “I’m Gonna Make It”. Jim Weatherly wrote the B-side, the Elvis-sounding “Wise Men Never Speak”, which he copyrighted in April, 1964.
Lobue and Russell had a band with Jim since their days at the University of Mississippi, where Jim Weatherly was a star quarterback. After college they moved to Los Angeles to try to succeed in the music business.
On March 5, 1965, Cash Box announced “The grid star kicks off his disk career with a driving rocker”. It would be three years before any further releases, or any press would mention Jim Weatherly or his group, who would eventually be named the Gordion Knot.
In February, 1968, Cash Box reported the Gordian Knot had signed to Verve for four singles and an album. A short article in Record World in April listed the Gordian Knot’s members as: Pat Kincade, guitar; J.D. Lobue, organ; Leland Russell, bass; Dulin Lancaster, drums; and Jim Weatherly, piano. I am not sure if Pat Kincade and Dulin Lancaster also played on the 20th Century Fox single, but the article notes notes the band “have been working together for five years” and that John Babcock was their manager.
There were a number of songs copyrighted that do not seem to have been recorded and/or released:
Weatherly and Pat Kincade published “Just Another Day” in March, 1964.
In June of 1966, Jim Weatherly registered eight songs with a solo writing credit, none of which were on the Gordion Knot album, Tones: “I Can’t Be Hurt Any More”, “Mama, Your Daddy’s Come Home”, “The Morning After Rain”, “She Belongs to Yesterday”, “Sorrow’s Child”, “Turn Him Away”, “Waiting For the Day”, and “You Were Never Mine”, all published by Vivace Music.
The only song registered in June of 1966 that would show up on the Gordian Knot LP was “It’s Gonna Take a Lot” by Weatherly and Pat Kincade.
The Gordian Knot pursued a lighter pop direction on their two singles and album; “The Year of the Sun” (written by Leon Russell) is a good example of their sound. The flip, Jim Weatherly’s “If Only I Could Fly” is one of their more rocking songs.
In retrospect, “I’m Gonna Make It” is a very good single, and it’s surprising how little known it is. The single also seems to be rare now. I wonder if there are other recordings from the early days of the band that would show their development or directions they didn’t pursue.
Jim Weatherly of course would go on to have a long career as a hit songwriter and performer, but that is covered in depth elsewhere.
This is not the same Jim Weatherly who recorded with the Mozark Music Makers on the Mozark label of Springfield, Missouri.
Anyone have a photo of the group before they became the Gordion Knot?
The Nomads came from Oshkosh, Wisconsin and cut only this one single, “You Come Around” / “Don’t Come Runnin to Me”.
This is the first release on Kelly DiCianni’s Kel label.
Released as Kel No. 1000, with “A Kelas Production” on the label. Kelly and Sally DiCianni wrote both songs.
An article in the Oshkosh Daily Northwestern from March 25, 1966 gives the background for the single:
“Don’t Come Running to Me” and “You Come Around” are the two songs written by Kelly and Sally DiCianni. Kelly supplies the music and his wife, the lyrics.
The 45 rpm single is the first production under the “Kel” label. It was recorded in Oshkosh following three weeks of rehearsal.
The Nomads are four Oshkosh men who have been performing for 3 1/2 years. Three are in college and one is now in the Marines. They have appeared throughout Wisconsin and in Illinois.
Members of the aggregation and their musical assignments included: Michael Yanke, piano; Larry Wolff, drums and vocal; and Jack and Joseph Litjens, the first of whom plays lead guitar while the second plays the bass.
Kelly DiCianni is well-known as a piano instructor in the Neenah-Menasha area.
In his essential reference, Do You Hear That Beat, Gary E. Myers states that Jack Litjens and Joe Litjens were indentical twins from Holland.
Gary also notes that Larry Wolfe would join the Friends, a long-lasting group who released “Jane” / “Can’t Make It Without You” on Night Owl in 1970. I’m not sure if Larry Wolfe was in the Friends at the time of that single.
Kel would release three singles by the Sunstone Lollypop, who included Kelly DiCianni’s two sons, Keith DiCianni and David DiCianni, plus drummer Steve Marks. The Sunstone Lollypop is a group I’d really like to interview for this site.
The Shandells, from left: Sean Ryan, Joe Stanley, Tom Nyquist, and Tom Blomquist
The Shandells came from Mount Prospect and Arlington Heights, Illinois, adjacent suburbs about 20 miles northwest of Chicago. The Shandells cut one treasured record, “Caroline” / “Mary, Mary” on Sizzle SS-5130 in August, 1965. The label reads “That Fabulous Four Sean, 2 Toms, Joe”. Members were:
Joe Stanley – lead guitar Sean Ryan – bass Tom Nyquist – guitar Tom Blomquist – drums
Crypt Records included “Caroline” and “Mary, Mary” on Back from the Grave volumes 3 and 6, respectively.
A feature in the Chicago Tribune on August 5, 1965 includes three photos of the group in the studio (which goes unnamed, unfortunately), and even quotes a verse of “Caroline” a little different to what was on the record:
The last time I saw her she said to me She’d be mine if I wanted her t’ be I said ah-Hey! Hey! Hey! Hey! Hey! Hey! Hey! YA-A-A-OWWW!
The band downplay rock music in the article, presenting a wholesome image.
An article from Arlington Heights Herald notes how they would regularly fill the Knights of Columbus Hall. It goes on to say that Sean Ryan was leader of the group and primary writer of their original songs, and that he was an Irish citizen. He was a senior at Prospect High School.
Joe Stanley also wrote for the group, was a sophomore at St. Viator High and “has a B average.”
Tom Blomquist was class president at Arlington High School, wrote “Caroline”, and also averaged Bs in school.
Tom Nyquist is “lead rhythm guitarist” and a sophomore at Prospect High School.
When they cut their single, the group were 15 years old, except for Sean who was 17.
Thank you to Mikael for alerting me to the photo of the group, and to Mike Markesich for pointing out the articles.
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
