Category Archives: US

Categories: California, Orange County, Ruff, Tower

The Rubber Maze

May 14, 2016 Chris Bishop 5 Comments

The Rubber Maze released one excellent double-sided single on Tower 351 in July 1967, featuring two different styles. The A-side is “Mrs. Griffith”, typical of the soft psychedelia of the era, written by Marty Cooper, who co-produced the single with Ray Ruff.

Ray Ruff and Marty Cooper ran the Ruff and Sully labels, based out of Amarillo, Texas. Their publishing companies Little Darlin’ Music Co. and Checkmate Music BMI published both songs. I’ve read this single came out on the Ruff label but haven’t yet seen a copy.

I really dig the flip, a straight-up garage song “Won’t See Me Down”, written by Rubber Maze member Dennis Swinden.

Bassist Ronnie Verge commented on a video of “Mrs. Griffith”:

The Rubber Maze formed in 1965 in San Francisco and moved to Orange County, CA. They started up as The Young Men From Boston, shortly there after change to The Maze, and in 1967 changed to The Rubber Maze. They disbanded in late 1968.
Lead vocals and drums: Reggie Boyd
Vocals, lead guitar and keyboard: Dennis Swinden
Vocals, rhythm guitar: Brian Blanchard
Vocals, bass and cello: Ronnie Verge
Alternate Member on vocals and lead guitar: Chad Blanchard

The Rubber Maze toured a substantial part of the U.S. with the Yellow Payges as part of Happening ’67, a tour organized by Dick Clark. Each show had local acts in the opening slots, and received a fair amount of press. There were shows in Arizona, Texas, Georgia, Florida, Tennessee, Kentucky, Ohio, Illinois and Wisconsin during July and August 1967.

The clipping at the top comes from Mike Dugo of 60sgaragebands.com, part of a two-page write up on a Dick Clark tour with The Split Ends and Yellow Payges in 1968 in Teen Screen.

The Rubber Maze had no connection to the Maze who had the LP Armageddon on the MTA label.

Rubber Maze Tower PS — rare Tower picture sleeve for the Rubber Maze single

Rubber Maze on the first stop of the Happening ’67 tour in Tucson, July 15

The “Flower Child” of the Rubber Maze in Corpus Christi, TX on July 25, 1967

Categories: Destination, Indiana, Valparaiso

The Jokers

May 12, 2016 Chris Bishop 1 Comment

It’s too bad the Jokers never cut any other records ’cause both sides of this one are impassioned performances of original songs.

“What’cha Gonna’ Do” starts with a solid bass line over fleet and distant-sounding (from reverb) drumming. The lyrics come fast with some nice echos on guitar: “That little lamb, you call him man, eating out of your hand, his golden fleece, can bring you peace, now you wanna get past my door …” Harmonica wails along, the vocal harmonies come in, and the song hits crescendo of the chorus after barely half a minute.

“I’ll Never Let You Go” is a more conventional composition, but the Leslie on the guitar lends a tearful sound to this ballad.

The Jokers came out of Valpariso, Indiana, just southeast of Gary, and about an hour’s drive from downtown Chicago, where they recorded their single. The band’s members were:

Tom Allison – guitar, vocals
Frank Ball – guitar, keyboards, harmonica, vocals
Tim Walkoe – bass, vocals
Ron Januchowski – drums, vocals

Released on Destination 614 in October, 1965, according to the Sundazed compilation 2131 South Michigan Avenue: 60’s Garage & Psychedelia From U.S.A. And Destination Records “they cut their one Destination 45 with engineer Stu Black at Sound Studios. Stu had also engineered the early New Colony Six, which might explain the familiar Leslie guitar sound on the Jokers’ “‘I’ll Never Let You Go.'”

Ron Januchowski sang lead on “What’cha Gonna’ Do”, which was written by Tom Allison and David Roth. Frank Ball and Roth co-wrote “I’ll Never Let You Go”, with Destination and Tawny, BMI publishing both songs.

David Roth is supposed to have been a pharmacist who, under the name Bernard Roth, had written “Forty Days and Forty Nights” for Muddy Waters back in 1956. The Library of Congress lists both of the Jokers’ songs under Bernard Roth only, but BMI’s current database doesn’t list either song. It’s amazing that someone who wrote a few blues songs ten years earlier was able to cop some of Dylan’s quick patter on “What’cha Gonna’ Do”.

Although white label promos exist, this blue-label copy has asterisks by “What’cha Gonna’ Do” – and I’ve had another stock label that is identical but does not include these.

Thank you to Timothy Cox of the 60’s indiana band szene site for the extra info about the Jokers.

Categories: Columbia, Elsmere, Erlanger, Kentucky

The Bad Seeds of northern Kentucky

May 9, 2016 Chris Bishop 10 Comments

The Bad Seeds of Kentucky, Cincinnati Enquirer January 14, 1967 — The Bad Seeds featured on January 14, 1967.
From left to right, top row: Jerry Foster, Gene Clarke and Ernie Bands; bottom: John Reynolds and Donald Hodge

The Bad Seeds came from northern Kentucky, in the greater metropolitan Cincinnati area. The Enquirer featured the band in its Teenager section on January 14, 1967. At the time the members were John Reynolds, Donald Hodge, Jerry Foster, Gene Clarke and Ernie Bands [sic – should probably read Ernie Banks]. The article notes the Bad Seeds appeared at Granny’s teen club in Elsmere, that the group would have an album in addition to the single, and also that “all except Ernie hail from Northern Kentucky”.

As far as I know, the album never materialized, but nine months earlier a different version of the group traveled to New York to cut a single for Columbia Records featuring two original songs by the band, the Dylanesque “King of the Soap Box” (written by John Reynolds) and the fine 12-string song “He’s Lying”, written by Jerry Foster, both songs published by Red Brick Music, Inc BMI. Robert Mersey conducted and produced the single, released on Columbia 4-43670 in May, 1966

According to a comment by Lloyd McGlasson, the band’s members on the single were:

Jerry Foster – six string guitar and backing vocals
Lloyd McGlasson – 12 string guitar and backing vocals
John Reynolds – bass and lead vocals
Earnie Banks – drums (Ernie Banks?)

Other sources list additional members, including Vicki Spencer on backing vocals on the single, and even Charlie Brown. Vicki Spencer would sing with The Bubble Gum Machine on their 1967 LP for Senate Records.

These Bad Seeds were not the Texas group who had three singles on J-Beck, nor the group from Oxnard, California with a single “Why Oh Why” / “Hearts of Stone” on TVA.

Categories: Missouri, Skipper, Springfield

Tonky Tomson, David & the Boys-Next-Door, and Skipper Records

May 8, 2016 Chris Bishop 4 Comments

Skipper Records came from Springfield, Missouri and released at least eight singles in 1965-1966 before folding. It was a creation of Si Siman, a promoter, manager and part-owner (along with Ralph Foster and John B. Mahaffey) of Earl Barton Music, Inc., which published most of the songs featured on the Skipper label.

Everything I’ve heard on the label is snappy and well-produced. Half are upbeat country but there are two rock singles and a couple r&b. The releases by Tonky Tomson and David & the Boys-Next-Door are notable for featuring the earliest work of two men who would go on to have huge successes in the music industry.

Siman Launches Skipper Label Billboard, October 2, 1965 — Skipper Records announced, October 2, 1965

Tonky Tomson seems to be a pseudonym for Wayne Thompson, who wrote both “On My Way” and “I’ve Been in Love”, and probably sings on this single from October, 1965. I’d say he was listening to a lot of Hollies at the time. I wonder who was the lead guitarist on these tracks, as he did excellent work, with the country tinge that the Beatles and other groups were starting to reach for.

Wayne Carson Thompson is much better known as Wayne Carson, who would write “The Letter” a couple years after his time at Skipper and go on to write many other hits. Wayne Carson died on July 20, 2015.

Wayne Thompson also wrote the A-side of David and the Boys-Next-Door catchy party song “Land O’ Love”, and co-write “If I Was King” with David Kershenbaum, the leader of the group.

In 1967 David and the Boys Next Door released a second single on Del-Ray Records of Poplar Bluff, MO, “It Ain’t No Use” / “Spring Fever”, both originals by David Kershenbaum published by Earl Barton. I’ve heard the A-side and it’s good pop, with a nice guitar hook. David Kershenbaum had a solo single on Capitol Records in 1968, “White Velvet Cat” / “Forbidden”, both written by Bobby Lile. Kershenbaum would go on to a successful career as a producer starting in the 1970s.

Steve Sanders would sing “Land of Love” for a single on MGM 13475, a single I haven’t heard yet.

Skipper Records discography (probably incomplete – any help with this would be appreciated)

Labels for Skipper are gold with black print with the exception of the Clint Harrison 45. Some list Radio TV Bldg, Springfield, MO as the address, and the 828 prefix on these indicates their account with RCA custom pressings.

Skipper 828R-0773/4 – Lewie & the 7 Days – “Night Train” / “What You Never Had”

Skipper 828R-1240 – David and the Boys-Next-Door – “Land O’ Love” (Wayne Thompson)/ “If I Was King” (Kershenbaum & Wayne Thompson) (SK4M-1240/1)

Skipper 828S-1241 – Truman-Lankford – “Arkansas Man” / “Here-Comes-Heaven-Again” (both by Truman Lankford, Jim James, Prod. M.A. Box)

Skipper 828R-1408/9 – Tonky Tomson – “On My Way” / “I’ve Been in Love” (both Wayne Thompson, SK4M-1408)

Skipper 828R-2735 – Wavie Self – “Kentucky” (Prichard) / “These Words” (SK4M-2736)

Skipper 828R-5695 – Lewie & the 7 Days – “You’ve Been Cheatin on Me” (L. Taylor) / “You’re the Reason” (T4KM-5695)

Skipper 828R-6255 Clint Harrison – “Record in My Album” (Eppright) / “Thirteen to Nineteen” (T4KM-6255, red label)

Skipper 828R-7917 – Don Clements w. Anita Kerr Group vocal background – “Made in the U.S.A.” (Ronnie Self) / “My Conscience Knows” (S4KM-7917)

Categories: Counterpart, Dayton, Hamlet, Ohio

The Villagers of Dayton, Ohio

May 5, 2016 Chris Bishop 4 Comments

There were a number of groups called the Villagers around the country, but these Villagers came from Dayton and cut only one record, the endearing garage original “He’s Not the Same” b/w the melancholy “Sunshine My Way”.

Released on Hamlet Records V-1000 in 1968, the Villagers are a mystery other than the info on the labels: authors J. Mills and M. Copp, publishing by Counterpart Music, BMI, the code 813L which was Counterpart Records account number with RCA custom pressings, and W4KM-6004/5 (indicating a RCA custom pressing from the first half of 1968).

Library of Congress copyright records give one name, Janis R. Mills, who copyrighted “He’s Not the Same” on January 5, 1968, and “Sun, Shine My Way” (notice the different rendering of the title) on May 20, 1968. M. Copp is not in these copyright listings.

BMI’s database lists Janice Mills and Michael Copp. The spelling of her name as Janice certainly is a mistake on BMI’s part, as BMI attributes two recent country songs by Janice S. Mills from Alabama to the author of “He’s Not the Same”. It wouldn’t be unlike BMI to conflate two similar names.

Strangely, BMI lists “He’s Not the Same” and “Sunshine My Way” as registered to Piagneri Music in Astoria, NY, even though Counterpart Music is still active in Cincinnati.

I can find no listings or articles on the band from that time, so it’s possible they were not even a semi-professional band or one that would play battle-of-the-bands. Maybe Janis Mills wrote these songs and brought them to the attention of Counterpart, which had Michael Copp arrange them with some local group or musicians.

Categories: Chetwyd, Kentucky, Lexington

The One of Hours, Lexington, KY

April 27, 2016 Chris Bishop Leave a comment

The One of Hours, September 1966, photo courtesy of Ed Commons

One of Hours came from Lexington, Kentucky and released two singles on the local Chetwyd Records label.

The band members on their first single were:

Shawn Foreman – keyboards
David Flynn – guitar, vocals
Dave Bogliole – bass, vocals
Robert Nelson – drums
Carol Craig – vocals

The band has the very first release on Chetwyd, CW-45001 featuring “It’s Best (by Foreman – Bogliole), a gentle ballad featuring the band’s vocal harmonies, accompanied by what sounds like autoharp and even whistling.

Ed Commons ran a studio in Lexington and also the Chetwyd label.

“Trifolia” (by Foreman – Flynn – Bogliole) is more rocking but the production gives it a distant sound. The release date was 1966, and like all their songs the labels list publishing by Chetwyd, though there’s no listing for them in the Library of Congress.

In April 1967 the One of Hours released their second single on Chetwyd CW-45005. The production is so much better, and the band more energetic and tighter. “Feel The Pain” (written by Foreman – Flynn – Bogliole) is a stand-out rocker with blistering lead guitar, some fuzz blasts, good lead and backing vocals, and a solid rhythm section behind it all.

“Psychedelic Illusion” (by Foreman – Willcutt) has the cloudier production of the first single, but has beautiful guitar picking and a melancholy feel to go with lyrics like “the sounds and the colors start to sway / the sounds and the colors are starting to fade / I feel my life slip away”. An organ, barely heard on the flip side, plays the instrumental break.

After speaking to Ed Commons, Lee Bryant reported to me that Carol Craig left, and the band added Bob Willcut on lead guitar for “Feel the Pain”. Lee sent in the news clip, below, of this lineup of the band:

One Of Hours Herald-Leader, May 7, 1967 — One of Hours in the Herald-Leader, May 7, 1967, from left: Shawn Foreman, David Flynn, Bob Willcutt, Robert Nelson (at drum kit), Dave Bogliole

Dave Baldwin spoke to a couple members of the band in the 1990s and said that Bob Willcutt played a Mosrite electric 12-string on “Psychedelic Illusion”.

Most intriguingly, Dave learned the group signed to Liberty Records with the group name changed to “Dandelion Wine”, and recorded and mixed an entire album only to have it cancelled by the label. Finally this LP has come to light courtesy of Bob Willcutt, and is definitely worth a listen, plus there are many photos within the videos for the twelve songs.

Lee Bryant reports that the lineup changed when they became Dandelion Wine, and included singer Vance Arnett and drummer Davie Rudolf (who could also be drumming on “Feel the Pain”).

Lee reports that the band began travelling to Washington, DC in the fall of 1968, trying to establish a foothold in the area’s music scene. In Lexington they were mostly a studio group, so it would be interesting to see some gig ads or news clips of their activity in DC.

Bob Willcutt owns Lexington’s Willicut Guitars.

Thank you to Dave Baldwin and Lee Bryant for their help. Special thanks to Ed Commons for the photo of the band at the top of the article.

Categories: Covington, Elsmere, Erlanger, Kentucky

The Maltese

April 24, 2016 Chris Bishop 9 Comments

Maltese at Granny's Club in Elsmere, KY, November, 1966 — The Maltese at Granny’s Club in Elsmere, KY, November, 1966. Top photo shows John Hyland and Donny Hutcherson of Boone County High, Mike Mahoney of Covington Catholic and Carol Dodd of St. Henry High. Bottom photo shows the Maltese in the background with dancers Sharon Riley, Charleen Riley, Brenda Clayton and Lindy Agner.

The Maltese came from northern Kentucky communities such as Covington, Park Hills and Erlanger, all part of the greater Cincinnati area.

An article in the Enquirer’s Teen-Ager section on Granny’s club in nearby Elsmere, KY shows a band called the Maltese. The article calls Granny’s teen club the “Home of the Dingos”, a band who played often in the area and who often appear in the local listings, unlike the Maltese.

Two members of the Maltese are identified in the article, John Hyland with the bass, and Mike Mahoney on guitar. Both songs on the single are credited to Akers.

There is some confusion about the early lineups of the group.

Dave Willis wrote to me:

Steve Marcum and I were learning to play chords and simple guitar riffs. We learned ‘Walk, Don’t Run’ and realized we needed a drummer. Steve Belew’s family had moved in a few doors from my family and somehow I learned he was a drummer and the three of us became the original Maltese. We tried out a couple of potential bassists but settled for another voice with a six-string and Tommy Angel joined the band.

It appears the Maltese from northern Kentucky never recorded. I had thought this was the same group who recorded on the Chetwyd label of Lexington, KY, which would have been about an hour’s drive to the south, but it turns out that group was from the Winchester area. I cover that group in a recent post.

Categories: Bethel, Box, Cincinnati, Ohio, Williamsburg

The What Four

April 22, 2016 Chris Bishop 2 Comments

What Four Cincinnati Enquirer. April 2, 1966 — The What Four on the cover of Teen-Ager, April 2, 1966. kneeling in front: Roy Jordan and Jim Hoerr, in back Frank Johnston and Larry Malott

Long rumored to be from Dayton, the What Four were actually from the Cincinnati area, namely the suburbs of Williamsburg and Bethel.

An April 1966 article in the Teen-Ager section of the Enquirer profiled the band:

Although the Greater Cincinnati area boasts hundreds of talented rock ‘n roll groups, only one, the “What Four,” claims a teacher among its members. Twenty-four-year-old Jim Hoerr, who teaches Latin, English and mathematics at Williamsburg High is rhythm and lead guitarist.

Jim Hoerr started rehearsing with student bass player Larry Malott. With Frank Johnson of Madeira High School on drums, they formed a trio called the Noblemen.

When guitarist Roy Jordan of Bethel High joined in 1965, the band became the What Four.

The What Four did well in a battle of the bands sponsored by WONE in Dayton, the prize was a free recording session. They cut two original songs, “Do You Believe” by Jim Hoerr, and “Whenever” by Jim Hoerr and Frank Johnson. The single was released on the Box label, with the band probably paying for the pressing if not the studio time.

I can find no further mention of the band after their April 1966 profile. Teen-Ager published the photo of another What Four in December 1966, a completely different group from Taft High School in Hamilton, Ohio to the north of Cincinnati.

What Four Cincinnati Enquirer. Dec. 31, 1966 — A different What Four from Hamilton, from left: Dave Bowman, Larry Combs, Tim Neff, and Tom Savage

That group was Dave Bowman on bass, Larry Combs on vocals and guitar, Tim Neff on drums and Tom Savage on lead guitar.

Categories: Fort Wayne, Fulton, Indiana, New York, Tech, Upstate New York

The Shadows 5 “Gathers No Moss”

April 19, 2016 Chris Bishop 17 Comments

The Shadows 5 were thought to be from Oswego, New York, on Lake Ontario, northwest of Syracuse, but the band actually formed in Fort Wayne, Indiana.

The band members’ first names are on the labels but I only know two members’ surnames. Another member’s last name is Williams, but I don’t know which.

Bill – lead vocals
Randy – lead guitar (Fender Jaguar)
Craig McKinney – rhythm and occasional lead guitar (Mosrite “Joe Maphis”)
Ralph Riehl – bass (Fender Jazz)
Vic – drums (Ludwig)

“Gathers No Moss” is an incredible version of the song, and the flip “That Little Girl” is a fine jangler.

Tech Records released the single in August 1966; I can’t find anything else on this label. The quality of the recording is excellent, with the opening guitar riff jumping off the grooves.

This was a very rare record though in the last year about 10 copies have shown up, which is how I was able to afford one.

Craig McKinney wrote to me with info about the group:

Two of us (Vic and I) are from Fulton, NY, a small city just south of Oswego, NY. Vic and I played together there before shipping off to Fort Wayne, IN and college. We started the band out there.
We recorded the record in Fort Wayne, IN at radio station WOWO and pressed 500 copies in Chicago. I wrote the words and music to “That Little Girl” as well as the arrangement for “Gathers No Moss.” Bill sings lead on “Girl” and that’s me on “Moss.” There is only copy out there that was signed by all members of our band. It was signed while we were on a tour trip to upstate NY in our old hometown.
Q. Were you or Vic in the Newberry 4 of Oswego when you lived in Fulton? They recorded a song called “That’s Why I’m a Rolling Stone” that is much like “Gathers No Moss”.
We were never in the “Newberry 4.” I heard them once or twice, though I was not there much in those days. They were the area’s top group at the time. They were excellent. A “Beatles” spin-off group if I remember right. Never knew them but admired them at the time. I didn’t remember their song until I heard it after reading a comment on your website. Still a great song to this day.
While we recording in the studio at WOWO, we had a professional photographer take pictures and videos of the group. We also left with the master tape. To this day, the pictures, videos and tapes cannot be found.
The group played backup for The Kingsmen in 1966 at my brother’s fraternity at Franklin College, Franklin, IN. They commented on how much better we were than them. Great fun! We played a LOT of frats and sorority houses in Indiana until Vic and I flunked out and the band broke up. Vic and I both later returned and graduated.
Randy was from Fort Wayne and, unfortunately, passed away about 8 years ago. I’m not sure where Ralph was from, but now resides somewhere in Florida. Bill was from Ohio and still resides there. Vic lives in Huntington, IN. I am back in Fulton, NY.
Craig McKinney

This is not the same Shadows Five who recorded “Dynamic Drums” / “Gary’s Boogie” for the Sully label and “Markham” / “Twistin’ Shadows” for Peacock. That group became the Ultimates and later Prince Charles & the Crusaders, then finally the Ultimate, with a 45 on Garland.

Categories: Camden-on-Gauley, Mo Go, West Virginia

Blue Creed “Need a Friend”

April 18, 2016 Chris Bishop 2 Comments

Blue Creed made this one great single on the Mo Go label, “Need a Friend” / “Sugarbabe”. Both songs feature hoarse, exaggerated vocals, a heavily distorted organ sound, a guitarist who sounds something like Jorma, especially on “Sugarbabe”, and a drummer who likes to hit the crash cymbal loudly and often.

Records like this one keep collecting interesting.

Amazingly this came with a sleeve (which I don’t own), sporting a photo of the band in hip clothes, wigs and sunglasses. Two or three of the band look like they’re from an earlier generation of musician than 1970 psychedelia.

It seems likely they recorded at Midway Recording Studio in Hurricane, West Virginia. The related Alta record label usually has a Hurricane address on it, but in the case of the Blue Creed single, Midway-Alta is listed at Camden-on-Gauley, WV, two hours drive east of Hurricane.

Luckily the Blue Creed put some of their names on the labels. Gary Gordon, Dave Franco and Bill Rexroad wrote “Need a Friend”, and the three of them plus Ron Sweeney wrote “Sugarbabe”.

I’ve seen the label listed as Moigo Records, but I think Mo Go is more correct, release # 4570. The ARP-1339/40 suggests American Record Pressing Co. in Michigan. Publishing by Sexman Pub Co.

William Henry Rexroad has many registrations in the Library of Congress copyright listings, usually co-written with Gerald W. Coakley. From the titles, many seem like they would be country or pop songs, so I’m surprised at the heavier sound on the Blue Creed 45.

I hadn’t been able to find out anything about the group until Ronald Sweeney wrote to me in 2017:

This entire smorgasbord was the brainchild of William Rexroad. He owned the publishing company (Sexman), the record label (MoGo) and copyrights to the words and music.
Starting in the 50’s, Rexroad, who had written thousands of poems, began a quest to locate musicians who could set his words to music. He’d tried the commercial route with little success and sought out local people to do the job.
I was one of many he recruited for this endeavor. I met Rexroad around 1959 and we have been friends since. I’m a pianist, and play pipe organ for the church. Although I set many of Rexroad’s poems to music, it was what I called musical gibberish. Bill loved it. He thought I was a genius – lol!
Most of Rexroad’s music was country, modern flavor. He did make a trip to Nashville to peddle his country music. It was a waste of time.
Bill Rexroad financed these projects himself. He paid the musicians, recording studio, and any and every expense involved. Amazing, since he was a coal miner.
Blue Creed was never a true band. As far as I know they never performed publicly. They were gathered by Rexroad to perform in a studio and produce a commercial (“hit”) record of Rexroad’s musical creations. I think the heavier sound was because it was the “up and coming” rage. He felt his chances were better.
The record label shows a oil drum between the letters “Mo” and “Go”, thus the reason for the misspelling (MoiGo). The drum is significant because Rexroad, in an effort to create an original sound, put guitar speakers in a 55-gallon metal oil drum.
The 45 record you have was mailed to hundreds of stations. The fruits of this extraordinary adventure were disappointing, to say the least. A copy of the only proceeds Rexroad received is attached. A check from BMI for $1.20 for “Sugarbabe” royalties which played in France.
Some of Blue Creed members were involved with local pickup bands. They were in their twenties and thirties. Much too old to really get serious about a career in rock. Most had families to feed. This was just “fun and games” for them. I played with some of the band members, but was never keen on performing for the recording. Some are deceased, and those living are scattered into the unknown.
Gerald W. Coakley I never knew. Rexroad talked about him occasionally but he was never around during all the years I knew Rexroad.
Rexroad was 11 years my senior (which makes him 89 or older). His wife contacted me a few years ago and said he was in a nursing home. She would not tell me where, so I never pursued trying to find out.

Thank you to Ronald Sweeney for filling in the background on the Blue Creed and Bill Rexroad.

Garage Hangover