The Catalinas, including Gary Nicholson front center and Rodney Wall at right
The Garland Daily News ran two announcements for the Catalinas at the Karavan Klub at the Community Center Annex, first with the Cherries IV on February 26, 1965.
On April 6, 1965 the Daily News ran a photo of the group, noting “Catalinas to play at Karavan Teen Klub and DECA Club Dance at Community House … with the Fiestas who won the Karavan Battle of the Bands contest, and a new group composed of South Garland High School students known as the Sceptors.”
There was a Catalinas group from Duncanville playing at the same time as these Catalinas. I believe they are different groups though, because that one featured a pianist and only one guitarist.
As far as I know, these Catalinas never recorded.
If you have any photos or info on any local Texas bands of the ’60s, please comment below or contact me.
The Black Banana had two singles under different band names. The first 45 I’d heard but hadn’t connected to the second because of the different artist name until Mike Markesich pointed out the connection in his comment below. Mike kindly provided scans of the 1st single as the Black Banana.
The group was from Limestone, in upstate New York, only a little west of Olean, the home of the Tigermen. The Tigermen were active earlier, but perhaps the bands knew each other. Mike tells me the band was also based in Bradford, Pennsylvania, just south of Limestone.
Reversing the usual way of garage bands, the group formed after some of the members had finished their military service. They have a great mid-’60s sound on both their singles despite the late recording dates.
Both singles list the members on the label, for this first one the lineup is:
Fred Mascioni Karl Langner Dave McGee
Denny Eck would join the group on guitar by the time of the second single, but he is credited with co-writing “Listen Girl” with McGee and Mascioni.
McGee and Mascioni wrote “Please Come Back to Me” which I haven’t heard yet.
Karl Langner and Arnold White designed the cool label, and Car Hamme engineered the recording. This is an RCA custom pressing from 1969.
The second release has the Fog label but the band name is changed to Banana Music Ltd. It may date as late as 1971.
Members were:
Fred Mascioni Karl Langner Dave McGee Denny Eck
Denny Eck wrote “Don’t Bother Us” and Mascioni & Eck wrote “Walkin'”.
The group is listed as “The Mack Banana Band” in the Bradford Era newspaper from August 1, 1969. From the excerpt I could find online, all the members names are listed except Denny Eck:
The new sound around, come and listen to music written & played by THE MACK BANANA Band — Fred Mascioni, Karl Langner, Dave McGee …
Besides Fog Music Inc., there are other production credits on the labels: “Langner Label”, “Rotten Crates Music Corp.” and “Black Banana”.
When Mike Markesich contacted Fred Mascioni he mentioned there were songs cut for an album that went unreleased.
The Lost and Found originated in San Clemente, California as the Nuts & Bolts. Relocating to Phoenix Arizona, they became the Lost and Found and cut this single on the one-off Pins label. They were about 16 or 17 years old at the time of the session.
The band members were:
Jim Jeffers – lead guitar Mike Ingram – rhythm guitar and vocals Al Manfredi – bass and vocals Mike Ryer – drums and vocals
Mike Ingram wrote the fast-paced “Don’t Move Girl”, while Al Mandredi wrote the introspective “To Catch the Sun”, both songs published by Debra, BMI.
The Library of Congress shows the songs registered on November 14, 1966, listing their full names, with their mothers’ names as publishers: John Michael Ingram and Ruby P. Ingram; and Albert T. Manfredi and Wanda Manfredi.
The single is a Wakefield Pressing with the code SJW-8937. It was recorded at Loy Clingman’s Viv Studio.
The group had a tragic streak, as Mike Ingram died soon after the group returned to California in early 1967. After a year’s hiatus, Al Manfredi reformed the group with drummer Mike Ryer, only to have tragedy strike again, as Ryer died of cancer. Certainly this was a talented group that deserved a better fate.
Al Manfredi gave music lessons while continuing to write and record demos of songs. In 1973 he brought a band into a studio to cut some of his original songs, and had a small number of copies pressed by Band ‘n Vocal Mobile Recording Service. Al passed away in 1995, but Now-Again Records has issued his album and other recordings as Blue Gold.
Before the Buckinghams, there were the Centuries, who released one fine single on the Spectra-Sound label in 1965, “I Love You No More” b/w “Yeh: It’s Alright”.
The Centuries’ members were:
Carl Giammarese – lead guitar Nick Fortuna – rhythm guitar Curt Bachman – bass guitar and lead vocals on “I Love You No More” Gerald Elarde – drums and lead vocals on “Yeh; It’s Alright”
Listen to “I Love You No More” below. “Yeh; It’s Alright” is also good, especially Carl’s frantic guitar solo.
It’s Alright and I Love You No More were recorded by The Centuries in, I think, late 1964, at Lawrence and Western and I think it was the old St. Louis Insurance Building. My cousin Jerry Elarde was our drummer and lead singer (fab voice) … he sang It’s Alright. Our bass player, Curt Bachman, sang I Love You No More. I was the Lead Guitar player and Nick Fortuna was the rhythm guitar player. Both songs were written by Jeff Boyen (from Saturday’s Children). Jeff was part of a duo called Ron and Jeff, kind of folky, but they did early Beatles fabulously. These songs had nothing to do with The Buckinghams other than Nick and I became The Pulsations and then The Buckinghams.
Jeff Boyan was part of the Blackstones which included Curt Bachman for a time. The Blackstones would release four singles on the Invictus label, including a slightly different arrangement of “I Love You No More” (as Dalek/Engam: the Blackstones) in July, 1965. Boyan would go on to join Saturday’s Children with singles on Dunwich. Deb Music BMI published both songs, which were credited to “Geoff – Boyan”.
Carl Giammarese, Nick Fortuna and Curt Bachman would continue with a name change to the Pulsations, adding Dennis Tufano, Jon Poulos, and Dennis Miccoli and eventually becoming the Buckinghams. The Buckinghams first single would also come out on Spectra-Sound Records, “Sweets for My Sweet” / “Beginner’s Love”, before they were signed to U.S.A. Records.
Dan Belloc owned Spectra-Sound Records. The Centuries single has master numbers 4759-1 and 4760-1 while the Buckinghams has S-4617, which may indicate the Buckinghams was released first, but I am not sure of that.
For more info on Jeff Boyan and context on these bands, I definitely recommend Jeff Jarema’s interview with Jerry McGeorge of the Blackstones, the Shadows of Knight, and H.P. Lovecraft in Here ‘Tis #6, which can be found on the Internet Archive.
Jean Purretta (bottom center) in the Beachcomber, August 12, 1959
Jeannie Purretta released one single in the early ’60s on the Camsul label owned by Dick Campbell, who also wrote and produced both sides, and Artie Sullivan, who co-produced.
“If You See My Baby” is a catchy, fast number with an interesting guitar-led passage after the first verse. The recording quality is somewhat crude but helps to give the single a wall-of-sound quality, and deserves a reissue as it is currently an obscure recording.
Jeannie sings “He’s My Boy Friend” with almost a country twang.
Jeannie Purretta came from Worcester, Massachusetts, graduating from Commerce High School in 1952. The Beachcomber of August 12, 1959, published in Hampton Beach, New Hampshire, has a photo and lists Jean Purretta as 1st place winner in a talent parade.
On April 27, 1960, Jean Purretta sang on three songs recorded in New York with a large group featuring Charlie Mariano, Vinnie Dean, Frank Soccolow, John Hafer, Pepper Adams, Curtis Fuller, Jerry Tyree, Burt Collins, Rick Kiefer, Chet Ferretti, Eddie Bert, Frank Rehak, Bill Elton, Mike Zwerin, Bill Barber, Tommy Flanagan, Paul Chambers, Charlie Persip, Sal Salvador.
Some of the session appeared on Tony Zano’s Balmore LP The Gathering Place but the vocals with Jean have never been issued to my knowledge. Tony Zano was a stage name for Anthony Ferrazzano.
Dick Campbell and Artie Sullivan started Camsul Records in Worcester in 1962. In 1965 they relocated to the midwest and started CineVista Records and Andrea Dawn Music, recording in Janesville WI (Leaf Records), Sauk City WI (Cuca Records) and Chicago, IL (Universal Studios).
I asked Artie about Jeannie’s single and he wrote to me:
Jeannie Purretta was singing in local clubs at the time and we heard her sing. She was our fourth release on Camsul Records while we were living in Shrewsbury MA. We recorded her in Worcester MA at North East Recording Studio (owner Fred Holovnia). Fred later moved to Shrewsbury MA. Last I checked she was living in Shrewsbury MA. We used the band the Scarlets to back her up and Dick & I sang background.
The Scarlets was a local college band from Worcester MA that Dick & Artie hooked up with and used to back up their recordings while living in Massachusetts. Dick joined the band about a year and half after they formed. The Scarlets consisted of Peter Damanis on drums, born in Queens NY attending Clark University Worcester MA, Gordon Schultz on lead guitar from Worcester MA also at Clark University Worcester MA and John Benson on bass from Worcester Ma attending Worcester Tech.
Thank you to Artie Sullivan for the information about Jeannie and the Scarlets.
I don’t have much info on the Coming Generation who released one single in 1969 on the King Town label. Jim Du Bois wrote “Tell Me Now”, and Ed Barnhart wrote “This Troubled Life”.
The band seems to have been a quintet or sextet, with organ and smooth harmony vocals. They were indeed from Kingston, New York, as noted on several ads for shows in the Kingston Daily Freeman beginning in 1967 and ending in 1970. A sample of their shows include:
1967 – Sportsmen’s Park, Rosendale and the Viking Lounge on Glasco Turnpike, High Woods
The Coming Generation opening for Fire & Ice, March 27, 19701968 – The Tropical Inn, Port Ewen
1969 – 1970 – the Pleasure Yacht, Eddyville
December 31, 1969 – the Creamery at Wiltwyck Village, Esopus with Jay and the Techniques
1970 – Thunderbird Inn, Route 9W, Saugerties
March, 1970 – Thunderbird Inn with Fire and Ice (could this be Auggie Bucci’s group, with singles on Capitol and Crazy Horse?)
Runout vinyl has no markings other than 0024-A/B, but this numbering and the label design indicates it was recorded at Kennett Sound Studio in Kinderhook, NY.
Despite the labels saying copyright ’69, I haven’t found any registration for these songs.
Taken May of 1967 in Beaumont, Texas at the Crown Room in the King Edward Hotel.
The Kidds was a cover band that consisted of 6 members. The original band pictured here is Gerald Patrizi on drums, Joey Patrizi lead guitar, Jimmy Phelan rhythm guitar, Jake Tortorice lead singer, John Schmidt base guitar and myself, Antoine LeBlanc keyboard.
The Kidds were fortunate to open up for The Five Americans when they came to our area. That band had just recorded “Western Union” and they preformed it that night. We also opened for The Moving Sidewalk before they changed their name to ZZ Top.
The Kidds had plans to record a single “Down To Middle Earth” but broke up before going to the studio.
After the Kidds broke up in 1970, rhythm guitar player Jimmy Phelan moved to Austin Texas played and ran sound for country singer-songwriter Rusty Wier. No one else that I remember went to play with any other bands at that time. I have been playing with a 10 piece cover band for the last 17 years called Mid-Life Crisis.
Jolly Rogers, Kerrville Daily Times, January 26, 1967The Jolly Rogers came from Fredericksburg, Texas, its members were:
Byron Freeman – organ Danny Kunz – lead guitar Robert Miller – bass guitar D.L. Chase – drums
An article in the Kerrville Daily Times from January 25, 1967 announces their upcoming show at the J.M. Auld Youth Center, and notes the band had been together for about six months with Byron Freeman as manager. Also that they had “played at the San Angelo Air Base and Service Club, the Commanche Club in Burnet, The Char Door in Comfort, Legioin Hall in Fredericksburg, and the teen Club in Kennedy and New Braunfels.”
The article also mentions another dance with a band called The Gates of Creation.
I don’t believe this group ever recorded. There was a group called Jolly Roger and the Poppiteers, from the Waco area, with a couple singles on White Deer. From the label credits, that band included Roy Irby, Dave Carr, Ray Colin, Jim Muile and Roger Simmons.
The Creation were from Albuquerque, New Mexico. There were three members in the group: Al O’Donnell on lead and rhythm guitar, his brother Mike O’Donnell on bass, and Ernie Phillips on rhythm guitar. All three contributed lead and harmony vocals.
The Creation recorded two singles within a few months of each other. The first was “What The Daisies Know” / “Sun And Stars (I Miss Her So)” on Centurion 45-3001, recorded in October 1967 and released by December. Both sides were written by O’Donnell and Phillips for Tenmand Music, BMI. The publishing contracts list Joe Green with Tenmand Music. Distribution was by Lance Music Enterprises on SW 4th St.
The second single is “No Silver Bird” backed with “The Warmth of Love” on Centurion 45-3002, recorded December, 1967. The quality of the band’s performance is very different from the Creation’s first 45, more disciplined and better-recorded, with a droning, trance-inducing sound.
The label design is also not much like Centurion 45-3001, with a different typeface, nor does it have the Lance distribution credit at the bottom. The Wakefield plant in Phoenix pressed both singles.
Lyrics to “No Silver Bird” consist of only six lines!
Go on, take an airplane ride, Get on that big silver bird and fly, The world would be so heavenly, If you would come along trippin’ with me, Go on, take an airplane ride, Don’t need no silver bird by my side.
The Creation’s single of “No Silver Bird” is very rare; until 2018 the only image circulating was a poor quality b&w photo of a DJ promo label. With nothing known about the Creation, there was speculation that their version of “No Silver Bird” was an ’80s recording made in an older style.
On July 7, 1968, the Hooterville Trolley recorded their own versions of “No Silver Bird” and “The Warmth of Love” at Norman Petty’s recording studio in Clovis with producer Tommy Bee. The Hooterville Trolley and the Creation did not share any band members.
The labels give Ernest Phillips sole credit for both songs, and publishing changes to Reginald Music Publ. and Stinger Music. The Hooterville Trolley single wasn’t released until January of 1969.
Tenmand Music publishing contract for “No Silver Bird” and “The Warmth of Love” by the Creation
In 2018 Al O’Donnell contacted me, and together with his brother Michael, answered my questions about the group and provided the scans of the contracts, lyrics and radio survey seen here.
Al O’Donnell:
The Creation was short-lived and we mostly wrote and arranged songs.
I have been playing guitar since very young. I usually played lead and rhythm on tracks. Mike picked up the bass as a new undertaking at the time we formed the band and became good very quick. Earnie played rhythm. The drummer and keyboard were always hired out and not part of the music development or lyrics.
Q. Who sang on the songs?
In all the songs Earnie, Mike and I sang and/or harmonized.
Q. Did the Creation play live shows? Are there any photos of the group?
Not really and no photos, [we were] just song writers composers and hopeful performers.
A couple of older gentlemen came to us and wanted to make us big. We had a backer and recorded both records that did get lots of airplay in the local area. Several thousand records were distributed.
The Creation’s “Sun and Stars” listed in KQEO’s Local Spotlight for December 16, 1967
“The Warmth of Love” was played locally as well, just did not get a local spotlight note.
On “No Silver Bird”, the guitar I was playing used a sound effect pedal and the repeater was adjustable with which I could set the tempo, that was the sound you refer to. Not even sure of what brand all the equipment was … I have had so many.
After several months of air play and not hearing from the guys who were doing the distribution, we went to their office and it was empty. Gone, along with the proceeds from the record shops. Being young and broke we could not pursue.
I never heard the Hooterville Trolley version [before recently]. I was not involved with Hooterville.
“Here Comes That Rainy Day Feeling” recorded by the Fortunes and “Signs” recorded by the Canadian group Five Man Electrical band sounded suspiciously like ones we wrote, can’t prove it today as the originals were on Earnie’s machine, gone forever. Both were credited to have been written by others.
Phillips died some time ago.
I am the only one who plays today for fun. I own a Martin 6 and a Seagull 12 with pickups for larger occasions. I have some some originals I have written since then but no real connection to the industry, and just copywriting for the heck of it seems a waste of time knowing the industry.
Al ODonnell, 2018
Lyrics to “Sun and Stars”
Michael O’Donnell:
Earnie was in sales so he actually found Green [Joe Green, Tenmand Music publisher]. Green had advertised in the paper looking for local talent and Earnie responded after telling us about what he found, at least that is how I remember it.
After we made contact Earnie, Al and myself went and met Green and sang something for him and that is where it started.
I believe the second record, “Warmth of Love” and “No Silver Bird” were recorded in December 1967. I do remember hearing the song on KQEO while I was driving down the street, that is not something you easily forget.
Q. I checked BMI and the Library of Congress lists online but couldn’t find registration of any of your songs. I noticed Phillips was listed as sole writer of “No Silver Bird” on the label. Was that a mistake?
Creation lyrics to “No Silver Bird”
Ernie is no longer with us to speak for his recollection so I can only say I remember that no one could claim individual credit for anything the group did. There was collaboration in the lyrics, music and arrangement by each member for everything recorded. I have included the original note paper lyrics that I wrote down as we all worked together.If you looked at the initial contract for the second record, “Warmth of Love” and “No Silver Bird” you will see all three individuals were credited for writing etc. Not that it makes any difference, the history is just fun.
I seem to recall that Ernie fronted a larger portion of the money to record the second record (“No Silver Bird”) so I can only assume that this is how he negotiated with the promoter to be repaid.
There were different “tasks” each undertook in the process and Ernie took on the task of getting paperwork processed with the promoter etc. When I found the paper-work concerning the contracts, I also found uncompleted copy-right paperwork so I suppose that was one task that did not get completed.
When you are very young and naive, things like this attention to detail sort of slips. We were just having fun and trusting the promoters, contracts and each other.
Michael O’Donnell, 2018
——
There was one additional single on Centurion 45-3003/4. One side is Los Gallegos y Sr. Max Roybal “San Martin des Porres”, written by Jose Green and arranged by Ramon Gallegos. The other side is Sean & the Junction with “My Little Girl” written by Ernest Phillips and Joseph E. Green, and produced and arranged by Ernie Phillips. “My Little Girl” starts slow and immediately picks up tempo, with an unusual middle section, and a lead vocal in what I consider a crooning or song-poem style. Unlike the Creation’s songs, Tenmand Music registered both of these with the Library of Congress on December 9, 1968. Al and Michael O’Donnell do not recall these artists or know who was involved with Sean & the Junction.
Thank you to Al and Michael O’Donnell for answering my questions about the group and also for providing scans of contracts, lyrics and the KQEO survey.
Thank you to Jeremy Sloan for alerting me to the third Centurion single.
Lyrics to “What The Daisies Know”Tenmand Music publishing contract for “Sun and Stars” and “What the Daisies Know” by the Creation
The Chevels released only one single that I know of, but it’s a double-sided instrumental winner. It’s not an unknown single, but it is one of many featuring Pat and Lolly Vegas, who deserve a full singles discography of their own.
Lolly Vegas wrote “Hendersonville”, a fine guitar workout on blues changes. It’s difficult to know which Hendersonville the title refers to, the suburb of Nashville along the Cumberland River is a possibility.
Pat Vegas and E. Engber wrote “Hootenanny Ho-Down”. Engber is actually Elliot Ingber, who played rhythm guitar with the Gamblers of “Moon Dawg!” / “LSD-25” fame, joined the Mothers of Invention and played on Freak Out, started the Fraternity of Man, and joined Captain Beefheart on The Spotlight Kid, among many other credits.
Released on Gass GS-1001, the October 19, 1963 issue of Cash Box reviewed the single favorably, listing “Hootenanny Ho-Down” as the top side.
Production was by Gram – Fisher, possibly J. Fisher, but I haven’t come across these names before to my recollection.
The only other Gass single, by the Travelers, was produced by Leo Kulka, who would move to San Francisco and found Golden State Recorders in 1964.
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 Garland Daily News ran two announcements for the Catalinas at the Karavan Klub at the Community Center Annex, first with the Cherries IV on February 26, 1965.
