I can’t find any information on Bobby and the Blue Denims, who cut this single of sax-and-guitar instrumentals. “Stop and Go” is a good bluesy original by Robert B. Hardy. The flip is “Rail Road Rock” arranged by W. Pierce. Cedarwood published both songs.
Released on Statue SR-7637, the L8OW code indicates this was an RCA custom pressing from 1960.
Statue had an address of 146 7th Avenue, North Nashville, Tennessee, which was simply the address of Cedarwood Pub. at the time.
The Aggregation cut two fine originals, “Candlestickstomp” and “You Lied to Me” for the Dynamic Sound label of Long Island, NY.
Members were:
Russell Javors – lead guitar Bob Wenmouth – rhythm guitar Ken Rosenberg – lead vocals and bass Jim Carey – drums
As you can see, my copy did not arrive in very good condition.
The Aggregation playing at a school dance
There was very little information about them until I heard from Ken Rosenberg, who sent in the photos seen here and wrote to me about the band:
This is Kenny Rosenberg, better known now as Kenny Owens since 1981, ’82. The group came out of Plainview, NY right next to Hicksville. I was the lead singer & bassist, Russell Javors played lead guitar, Bob Wenmouth played rhythm and Jim Carey played drums. We were pretty young, Jim was I think 13 the rest of us a little older. Russell a year younger than Bob and me. Jim and Bob are no longer present on earth.
The band used to play high school dances and parties and town pool events. Entered the battle of the bands, came in 2nd the first time, next year came in 1st.
We used to practice at 30 Eldorado Blvd in the Carey’s converted garage. We were big fans of the Mersey Sound.
The studio was in a modest house in Hicksville, recorded in the basement and the owner had his own pressing machine. That’s how I remember it.
We also recorded a 5 song acetate. Bob’s wife has a copy. Jim’s family has a copy. I let mine go years ago, in some landfill in Oyster Bay. One of the songs exists with “Candlestick Stomp” in a ten minute indie film … called American Sugar. “In This Placing” was the tune. The Careys tracked me down so they could use it in the film. I do remember we did a version of the stones “The Last Time”.
In answer about other 60’s bands I was in, I was the lead singer for a band called The Clique, we opened for The Young Rascals at Plainview High School, fun show.
Currently I’m an Americana singer-songwriter living in Hendersonville, TN. I record and make records and CD’s when I can. My site is kennyowensthewheatpennies.com .
Ken Rosenberg wrote “Candlestickstomp”. Russ Javors, Ken Rosenberg and Wenmouth collaborated on “You Lied to Me”.
Russ Javors later played guitar in Billy Joel’s band for many years.
The Aggregation at a battle-of-the-bands
The Dynamic Sound label
The “WElls 8-7108” phone number on the labels indicates Dynamic Sound was based in Plainview, Jericho or Hicksville, NY.
I know of two released 45s:
Dynamic Sound DY-105 – Aggregation – “You Lied to Me” / “Candlestick Stomp” Dynamic Sound DY-106 – Born Mean – “Don’t Let the Sun Catch You Crying” / “Shapes of Things” (a Rite vinyl pressing)
I’ve heard four acetate demos from Dynamic Sound, these three have the Wells exchange on the Dynamic Sound label:
The 5 of Us – “One of a Kind” / “But He Promised” Satan & the Body Snatchers – “Little Young Girl” / “In the Summertime” The Un-Called Four – “Since You’ve Been Gone” / “Masters of War”
This acetate I’ve heard (and both cuts are excellent) but haven’t seen the label:
The Gothics – “Mover” (instrumental) / “Watch Me Now”
—–
There was a Dynamic Sound label that released singles such as James Ray’s “I’ve Got My Mind Set On You”. Those usually have a “Hutch Davie” production logo and date to a few years earlier.
I doubt there’s any connection with the Dynamic Sound label of Milwaukee, WI.
There are at least two releases from Ohio that feature a Dynamic Sound label. The Born Mean cut “Shape Of Things” / “Don’t Let the Sun Catch You Crying” in 1966. The band may have been from New York but the release on Dynamic Sound 1068 was a Rite pressing from Cincinnati. Then in 1969 comes the Crystal Rain with “You & Me” / “World On Fire” on Dynamic Sound 91101.
My broken copy of the Aggregation was shipped from Ohio so I wonder if there could be some connection?
The Rimfires had one great single, featuring the rocking vocal “Bandstand Step” backed with “Un-Gowa”.
Members probably included:
Robert Wantuch – drums Theodore Michael Broskey Ted Niemann
Ted Broskey is credited with writing “Un-Gowa” on the label, but BMI’s database for Cedarlane publishing also has Bob Wantuch listed as writer.BMI shows “Bandstand Step” written by all three members.
Released on Sounds of the Rimfires, the code R3KM-9159/60 indicates the 1964 date. I don’t have the record but I assume there is an “I” in the deadwax to indicate RCA’s Indianapolis pressing plant.
The band came from South Bend, Indiana.
Bobby Wantuch’s LinkedIn profile shows he drummed with the Rivieras, Clark Terry, Thad Jones and others besides the Rimfires. In more recent years he is listed as Team Leader at Musicians Friend.
A notice in the South Bend Tribune from May 1, 1964 advertises a “Teenage Rock n Roll Dance” with music by the Rimfires.
A January 1966 article in the same paper lists local bands: the Rimfires, Ravens, Teen- Tones, Trade Winds, Fugitives and Soul Seekers.
The Tradewinds cut “Oop Oop a Doo” / “Floatin'” on Destination 620 in March, 1966.
There was a Fugitives band from Bloomington that released “Sticks and Stones” / “Lonely Weekends” on Dust 1050, but this may be a different band – Fugitives, like the Ravens, being a common band name.
That’s All Rite Mama has an article on the Teen-Tones, listing their three 45s and members: “Mike Ryan on vocal and sax, Ken Kidder on Wurlitzer Piano, Tom Hemminger on Lead, Roger Lacky on Rhythm, Lew Kimble on Drums.”
T&T stands for Tune and Talent Productions, Paul E. Hertel’s publishing and promotion company. That’s All Rite Mama mentions Paul Hertel also managed the Rimfires and that the band became the Music Project.
I could use quality scans of the Rimfires 45 labels.
This 45 by Debbie Williams & the Unwritten Law is the best thing I’ve come across in a long while. Both sides feature Debbie’s gravely, country-inflected voice with excellent backing by the Unwritten Law.
Released on Highland 1184 in November 1967, Debbie was a young teen when she recorded this single. An article from the Long Beach Independent on September 19, 1967 gives her age as 13, and that she had been making demos since she was six. She had skated in Ice Follies and Holiday on Ice with her parents and brother Robbie since she was two.
Another news feature on Debbie from the Santa Cruz Sentinel from February 29, 1968 mentioned her current base in Napa County, and her previous skating in Chicago.
The A-side is “Love Seems So Hard to Find”, with the wild lyric “Today, today he shut me down, because I was trippin’ hard”!
The country feeling is even stronger on “Ask Me”. Highland Records released Debbie’s single as release # 1184. A rare picture sleeve with photos by Fred Endo is viewable on 45cat. Milt Rogers produced, with distribution by by Malynn Enterprises, Inc.
Publishing by Tiltal Music – J. Williams BMI. Tiltal has a number of other noteworthy copyrights, including the Phonetics “What Good (Am I Without You)” by Willie Hutchison on Trudel, and a few on Kerwood Records such as Jessie Hill’s “I’m Tellin’ You People” / “If I Am Lucky”, the Tormentors “Didn’t It Rain”, and Lonnie Russ “Say Girl” by Gerald Russ and Harold Williams.
The Unwritten Law
Jim Farrelly and Ken McCutcheon wrote both songs on the Debbie Williams single. Both were members of the Unwritten Law, a group from Burlingame whose lineup included at times:
Jerry Ellsworth Jim Farrelly Marty Eyestone (or Marty Gyestone according to one mention online) Ken McCutcheon Pat Patterson Greg Raneri Dan Ransford – drums
The Unwritten Law had their own single in 1967, “Actions Speak Louder” by Marty Eyestone b/w “This Whole World Is Blind” by Ken McCutcheon. This saw release on Strata Records, which I had thought was an East Coast label based on singles by the Deadbeats, the First Four and the Persianettes. Jerry Katz also produced the Deadbeats “No Second Chance” / “Why Did You”. How the Unwritten Law single came to be on Strata is a mystery to me.
Rob Farrelly helpfully clipped both of the articles on Debbie from online news sources, which helped me find them.
The Wilshire Express is an interesting release that deserves a quick look. Despite the Austin Records label name, this was one of Major Bill Smith’s labels such as Charay and Le Cam out of Fort Worth, TX, almost 200 miles from Austin.
The Wilshire Express version of “Lose Your Money” is actually identical to the Ron-Dels hit on Smash, except for the lead vocals. Hard to say if it’s an alternate Delbert McClinton vocal, or merely someone imitating him. In any case the backing is identical, even the guitar solo and harmony vocals. The Wilshire Express version of “Lose Your Money” made it onto Highs in the Mid Sixties Vol. 23 without the compiler realizing it was basically the same recording as the Ron-Dels.
The Ron-Dels were from Fort Worth, the lineup on their Smash singles consisting of Delbert McClinton, Ronnie Kelly, Billy Wade Sanders, Jimmy Rogers on bass, and possibly Jerry Foster or Dahrel Norris on drums.
“Lose Your Money” was written by Mike Pinder and Denny Laine and was in fact the Moody Blues’ first UK single. “Lose Your Money” would get more exposure as the B-side to the US release of “Go Now”, where the Ron-Dels took their version.
The Wilshire Express B-side “Carla” is an easy listening instrumental and obviously from a completely different source. Both sides list “A Maridene Production”, and “Carla” has Freddy Crane on piano.
I’ve seen a September 1966 release date for the Wilshire Express single. The runout has “Maridene” “M 107” suggesting it was intended for Maridene Records, another Bill Smith label. If so it would have fit between Gene Summers remake of his earlier hit “Big Blue Diamonds” and Zuma’s “Hot Pants”, and the proper release date should be 1970 or 1971.
To make matters more confusing, on youtube I find a Wilshire Express single with the same release number, Austin Records A-322 with a version of Bruce Channel’s “Hey! Baby”: another Texas artist with a hit on Smash produced by Bill Smith. This time it’s a new recording actually done by the Carolina Tikis, a group who had recorded as Sunny & the Carolina Tikis for Charay (Sunny Threatt).
Here are some notices about local bands from the Lubbock Avalanche-Journal in December of 1966.
On December 16, the paper reported that the Outcasts had won a battle of the bands. Members were Steve Sandlin, Mike Boyd, Jay Frazier and Randy Curry.
Runner up was the Invaders: Keith Holder, Jack Applegate, Wally Moryers, Rick Williams and Steve Dabbs.
On December 22, 1966 the paper reported that Monterey’s Senior Carnival “featured a ‘Battle of the Bands’ among the Chargers, the Quintelle V and the Fugitives. Another report from the same paper also lists a group called the Boys at that contest.
I found an ad for the Fugitives “from Lubbock” playing at a weekend of shows at Club Saracen in Austin in June of 1966.
As far as I know, none of these bands ever recorded.
If you have any photos or info on any local Texas bands of the ’60s, please comment below or contact me.
The Collage are a mystery to me. They cut two singles, the first (as Mike pointed out in his comment below) was “Best Friend”, an original by band member John Phillips, published by Parsay Pub BMI. The flip is a charming cover of Brian Wilson’s “Girl Don’t Tell Me”.
The Collage recorded at AAA at 835 Dorchester Ave. in Dorchester, MA. Released in 1967 as Coliseum Record Productions 201,468/9, the 201 prefix to the release number indicates this was a Decca custom pressing.
Their second single on Subtown may be the best on the label.
John Doran wrote “Mystery Woman”, a good song with an arrangement that blends the groups’ harmonies with tasteful instrumentation.
John Phillps wrote the flip, “Closing In On Me”, with its opening line “As I look around and all I can see, my own shadow overshadowing me”. The band turns in an exciting performance, with some frenetic drumming. I love the song but the bright blasts of trumpet bother me after repeated listens and wish they’d left the horns off.
Neither song writer name appears on other Subtown releases.
Released on Subtown ST-101/2, with publishing by Echo, BMI but I can find no trace in BMI’s repertoire.
The label was part of Subtown Record Sales located at 169 Bank St. in New London, Connecticut. Subtown had other good releases by the Apple Corps and Davey And The Dolphins, among others.
The Aquamen’s second single “Line and Track” has become a top retro DJ spin, especially in the UK’s northern soul scene. The enthusiasm of garage collectors for the single led to its inclusion in Teen Beat Mayhem with a good rating. Some consider it more of a novelty, but the beat is solid, the repetitive bass line catchy, and the rhythm guitar has a James Brown-like quality.
Although it’s been more than 50 years since its release, I was surprised to find almost no published information on the group. Last month I bought a collection of photos & promotional materials (thank you Mike D.) which are the main sources for this article.
The Aquamen as a trio. If the instruments match the bio, from left: Frank Church, Dave Walker and Tom Karnes.
A promotional biography of the group from about mid-1966 has this info:
Heading THE AQUAMEN roster is Frank Church, lead guitarist and tenor singer, who does most of the musical arrangements for the group. Frank’s guitar solos always generate a hum of excitement.”
Lead singer Dave Walker, who shares the emcee spot, plays rhythm guitar and usually spices each show with a rousing banjo number…
Funnyman Tom Karnes, who consistently breaks up crows with his zany characterizations, doubles on bass, piano, and sings baritone harmony.
Mike Walch, the young “old pro” of twelve “Dennis the Menace” movies, plays piano, trumpet, guitar and other assorted noisemakers. Mike’s lyric tenor voice adds a unique quality to the group sound.
Al Breaux, the little dynamo on drums, formerly appeared with Louis Prima and Jerry Lee Lewis.
THE AQUAMEN have been together for three years and have performed in clubs throughout the country including the Holiday in Reno, Beachboy in San Diego, Carriage House in Burbank, Bahama Inn in Pasadena, Sunset Lanes in Kalamazoo, Maison Jaussaud in Bakersfield, and others. The group has appeared on ABC-TV’s “Territory Underwater” and currently can be seen in Paramount’s “Beach Ball” and “The Girl in Daddy’s Bikini.” They have recorded “RIDE A PALE HORSE” and “LITTLE GRANNY WILSON”, soon to be followed by an LP.
Personal Management: Joseph H. Friedman
The movie credits in the biography seem to be an exaggeration or outright invention.
Beach Ball features the Supremes, the Four Seasons, the Righteous Brothers, the Hondells, the Walker Brothers and the Nashville Teens. The Girl in Daddy’s Bikini was the original title for It’s a Bikini World, which has the Animals, the Gentrys, the Castaways, the Toys, and Pat and Lolly Vegas.
I haven’t seen either movie in its entirety but I can’t find any credit for the Aquamen or their members in the full cast lists for either film. Perhaps the Aquamen’s performances didn’t make it to the final cuts. Also, I don’t see Mike Walch’s name appear in the credits of the Dennis the Menace TV series.
Aquamen as a quintet, Todd Miller agency photoThe “R.F.” on 2116 Westwood Blvd presents the Aquamen “just back from tour … New York … Palm Beach, Jamaica and Hawaii”
In March of 1965, Frank Church and David Walker registered a number of songs with the Library of Congress. These include “Aquaman (Aquamen)”, “Big Rock Codley”, “Blue Coral”, “Godzilla”, “Skindiving Man”, “Superman” and “Younger Younger” (with Frank Karnes). Frank Church has a solo composition “The Beachcomber” registered in January 1965, with publishing by Milamco Music. I suppose the group cut demos on some of these songs, I have to wonder if any recordings still exist.
I was pleasantly surprised by “Ride a Pale Horse”, the A-side of the Aquamen’s first single. “Ride a Pale Horse” is a melancholy song with baroque harmonies over a mild folk-rock backing. Record World reported “Ride a Pale Horse” reaching the top 10 in Columbus, Ohio on August 13, 1966. Rod McKuen wrote the lyrics.
Cash Box May 29, 1966
The flip is a novelty number about hot-rodding “Grannie Wilson”, writing credited to the Aquamen with publishing by Water, BMI.
Released on Spring Records 333 with distribution by Atlantic. Jack Hayes Productions was based in San Francisco. Notices in all the trades date this single to May of 1966.
“Line and Track” followed in October 1966. The label notes “Line and Track” adapted and arranged by Church, Walker, Karnes and Walch, published by Hinrich Music Company, and “A Corby Production”.
The Aquamen’s version appropriates Fred Neil’s arrangement titled “Linin’ Track”, as it appears on a Les Baxter’s Balladeers single on Link Records from 1963 (with David Crosby contributing vocals). The Balladeers version also appears on the album Jack Linkletter Presents A Folk Festival that includes the Yachtsmen who would become the What’s Four (covered on this site). Fred Neil recorded his own versions of “Linin’ Track”, first on Hootenanny – Live At The Bitter End, and then with Vince Martin on Tear Down The Walls. The song seems to come from Leadbelly, but with very different lyrics. If there are other sources for Fred Neil’s version of the song, I’d like to know about them.
The B-side is a version of “Tomorrow Is a Long Time”. “Line and Track” received a B+ in the October 29, 1966 issue of Cashbox. Release was on Hiback HB-109 and again in December on Hinrich Music Company H-33/H-34.
The Library of Congress shows another Aquamen registration in October 1966: “Acid Test” by Walker, Karnes, Walch and Church. I’d like to hear that song!
The group continued at least into the summer of 1967. The Reno Gazette-Journal from Reno, Nevada published two entertainment notices on the group. The first from December 24, 1966 repeated much of the info in the promotional bio. The second notice comes from July 8, 1967.
I don’t know when the group disbanded. Mike Walch is credited with percussion, vocals and piano on an ABC album by The Phoenix in 1969, I’m not sure if this is the same person. The other members seem to have disappeared from the entertainment industry.
Aquamen and Lee Elliot at the Duke of York, 200-206 Marine Ave, Manhattan BeachAl Breaux, McConkey Agency promo photo
Postcard for the Warehouse IX at 2214 Stoner Avenue in West Los Angeles
The Warehouse IX was located at 2214 Stoner Avenue in West Los Angeles.
According to Bruno Ceriotti’s site on the Sons of Adam, the Fender IV played at the Warehouse IX regularly just before changing their name to the Sons of Adam. At least one ad for the club appeared in KRLA Beat.
The building appears to still be standing today, from the street view image below.
2214 Stoner Avenue, Los Angeles, formerly the Warehouse IX
The Royals, from left to right: Dennis Villanucci, Jim Hideriotis, Joe Villanucci, Rick Krikorian and Robert Krikorian
Dennis Villanucci wrote to me about the Royals who had three singles in the mid-1960s:
This band was formed in Haverhill, Massachusetts during the mid/late 1950s. The original band members were Jim Hideriotis (drums), Rick Krikorian (guitar) Dick Gaiero (guitar), Ted Schiavoni (guitar), Bob Schiavoni (bass) and Joe Villanucci (keyboards).
Around 1961 or so, Dick & Bob left the band, and I (Dennis Villanucci, Joe’s brother) joined as their bass player. Rick’s twin brother (Robert) also joined shortly thereafter as a singer and also played tambourine. Later on I became their lead guitarist. The band card shown was made after Bob had left the band.
Lowell State Lounge poster, May 22, 1965
While the members of the Royals were attending college, we appeared at many fraternity houses and college concert venues (college dance mixers) on campuses throughout New England (mostly in Massachusetts, New Hampshire & Vermont locations). Typical venues were Lowell State College (MA), UNH (Durham NH), Dartmouth College, University of Vermont etc.
We had an agent by the name of Al Long. He handled about 25 bands from the New England area.
We were friends with a few of the bands shown on Al’s list … The Roadrunners (Mike Fedenyszen et. al.) and the Heard (Chuck Buzzell, Eric Mcfadden, Bob Fontaine and Mike Moustafa).
Another band that we were friends with (not on the list) was called Lazy Smoke. John Pollano was their leader. My brother Joe played keyboard on “Sarah Saturday”.
A “rival” band was the Del Phi’s.
While playing a fraternity house for Lowell technological institute, we met a fraternity member who, along with his friend, had a recording studio in Framingham Massachusetts. We accepted a one year recording contract that was offered to us at no cost to us.
The band made three 45 rpm recordings at Continental Recordings Inc. (CORI) in Framingham, Massachusetts. The first recording “The Lady’s Bad” / “I’m All Alone” bears the CORI label and was made in June 1965.
The other two were under the Croydon label; “Summertime in Maine” / “Teenage Dreamer” and “Slow Down Boy” / “Summertime in Maine”.
While recording our music during that year, we were connected with Gene Kilham. Gene presented his music to us, and we agreed to record for him.
1st label for this song, June 1966
June 1967 release
Towards the end of the 1960s we began playing regularly at local night clubs: The Cinnamon Lounge (Lowell), Three Copper Men (Lowell), The Bowery (Salisbury Beach MA) and many others.
When we appeared at the Bowery, the band had added a horn section, (Ralph Bennett – sax, Rick Hammett trumpet and Jerry Bergonzi – tenor sax). We also added a front man, Johnny C (John Colimere). We played eight (4 or 5-hour) shows a week for about 6 weeks during the summer of 1969.
The band broke up around 1970. Joe and Robert are still active in the music industry.
Q. I notice the writing credits on “Teenage Dreamer” read Leo Krikorian and Gene Kilham, and Gene is also sole writer for “Summertime in Maine”. I believe Gene owned the Croydon label. Was Leo another name for your brother?
Leo Krikorian was not related to the two Krikorian brothers that were with the Royals (Rick & Robert). It is just a coincidence that he has the same last name. Leo & Gene wrote “Teenage Dreamer” and Leo played lead guitar on the recording.
June 15, 1966 issue of Billboard
Two notices for “Summertime in Maine” appeared in Billboard, in June and August 1966.
Royals discography:
June 1965: “I’m All Alone” / “The Lady’s Bad”, both by Krikorian – Villanucci, Hyannis Music Co., released on Cori Records CR 31002.
June, 1966: “Summertime in Maine” (Gene Kilham) / “Teenage Dreamer” (Leo Krikorian and Gene Kilham), both Chriskil Music Publ. Co., ASCAP, released on Croydon ZTSP 122492/3, a Columbia custom pressing, probably from their Rockaway plant.
May, 1967: “Summertime in Maine” (Gene Kilham) / “Slow Down, Boy” (Robert Krikorian and Joe Villanucci), released on Croydon U4KM-6776/7, an RCA custom pressing probably from their Pittman, New Jersey plant.
Chriskil Music Publ. Co., ASCAP published all three songs on the Croydon singles, named for the company’s street address.
Kilham has written and produced a single by Barry Wilson & the Camelots “The Bug” / “Gonna Put You Down” Dot 45-16462, both by B. Wilson and Gene Kilham, that received notice in Billboard in September 1963.
Al Long agency booking list – any info on the bands listed here would be appreciated:
Name Groups: The Harlem Playboys (with Randy Madison) The King Cobras – “Maine’s No. 1 band” The Nickel Bag of Soul (“New Hampshire’s best) The Catharsis The Embers John Tropea and the Spendors (“Boston’s great band”)
Girl Groups: The Fabulous Frauleins (recorded “Practice Of Evil” / “Days Gone By” on Onyx 8601) The Ever Lovin’s What’s this Madness
Popular Groups: The Given Word The Crescendos The Royals The Tel-stars The Avengers The Blue Cloud The Jinx The Del Phi’s The Roadrunners The Deltas Annie and the Orphans (from the Lakes region) The Heard Underground Conspiracy Gray Shade of Blue
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
I can’t find any information on Bobby and the Blue Denims, who cut this single of sax-and-guitar instrumentals. “Stop and Go” is a good bluesy original by Robert B. Hardy. The flip is “Rail Road Rock” arranged by W. Pierce. Cedarwood published both songs.
The Aggregation cut two fine originals, “Candlestickstomp” and “You Lied to Me” for the Dynamic Sound label of Long Island, NY.
Another news feature on Debbie from the Santa Cruz Sentinel from February 29, 1968 mentioned her current base in Napa County, and her previous skating in Chicago.
Jim Farrelly and Ken McCutcheon wrote both songs on the Debbie Williams single. Both were members of the Unwritten Law, a group from Burlingame whose lineup included at times:
The Wilshire Express is an interesting release that deserves a quick look. Despite the Austin Records label name, this was one of Major Bill Smith’s labels such as Charay and Le Cam out of Fort Worth, TX, almost 200 miles from Austin.
I found an ad for the Fugitives “from Lubbock” playing at a weekend of shows at Club Saracen in Austin in June of 1966.
The Collage are a mystery to me. They cut two singles, the first (as Mike pointed out in his comment below) was “Best Friend”, an original by band member John Phillips, published by Parsay Pub BMI. The flip is a charming cover of Brian Wilson’s “Girl Don’t Tell Me”.
Their second single on Subtown may be the best on the label.
Around 1961 or so, Dick & Bob left the band, and I (Dennis Villanucci, Joe’s brother) joined as their bass player. Rick’s twin brother (Robert) also joined shortly thereafter as a singer and also played tambourine. Later on I became their lead guitarist. The band card shown was made after Bob had left the band.
Chriskil Music Publ. Co., ASCAP published all three songs on the Croydon singles, named for the company’s street address.
