Thee Kavaliers had four singles on the Pharaoh label, the most releases of any artist on that label.
Their first was under the plainer moniker The Cavaliers and features a good garage vocal composed by Billy Rowe backed with the surf instrumental “Sea Weed”, composed by Frank Barrera. My copy has an inscription by Billy Rowe on the A-side that unfortunately got smeared to near-illegibility before I came to own it.
I’m not sure who played what instrument or exactly who was in the band. Billy Rowe must have been in the group, at least early on, and Javier Rios became their leader and wrote or co-wrote most of their original songs on their records as Thee Kavaliers. A clipping (see below) includes Mike Dunn, Gary Vandiver, Jeanne Hatfield, Richard Mancilla and an unidentified person as the Cavaliers. Frank Barrera’s name isn’t included but shows up on at least two of their songs as composer. The photo at top shows six members, and doesn’t include Jeanne Hatfield.
I don’t think Thee Kavaliers backed Jeanne Hatfield on her single on Pharaoh, which features a keyboard prominently.
In any case, they were a strong group with a wide repertoire. “Congregation for Anti-Flirts, Inc” is considered their best work, but all of it is strong. “Symbols of Sin” is a take on “Land of 1,000 Dances” but really gets moving once the guitar break starts.
Pharaoh 137 – The Cavaliers – “Pride” (Billy Rowe) / “Sea Weed” (Frank Barrera) (Oct. ’65) Pharaoh 146 – Thee Kavaliers – “That Hurts” / “Symbols of Sin” (both by Javier Rios, July ’66) Pharaoh 150 – Thee Kavaliers – “The Last Four Words” / “Ballad Of Thee Kavaliers” (Sept. ’66) Pharaoh 154 – Thee Kavaliers – “Congregation for Anti-Flirts, Inc” / “Back to You” (Jan. ’67)
David Lott of the Souls sent in the clipping below, featuring the Souls with the Marauders and the Cavaliers:
Three legendary Texas bands! The United Fund benefit dance in McAllen, 1965 Top row – The Cavaliers, l-r: Mike Dunn, Gary Vandiver, Javier Rios, Jeanne Hatfield, [unidentified], Richard Mancilla Middle row – l-r: The Marauders, with Mitch Watkins on lead guitar at left, Phil Veale, Eric Mancilla, Jimmy Parker, Lloyd Allen. Bottom row – The Souls, l-r: Murray Schlesinger, Jerry Ebensberger, David Smith, David Lott and Allen Kirsh.
Kavaliers and Jeannie Hatfield at the Carousel Friday, September 9, 1966Good Deeds and Invaders on Friday, Sept. 16; The Kavaliers and the Rebels on Saturday Sept. 17, 1966 at Granny’s Go Go
Roe Cree – lead singer, rhythm guitar Mike Nelson – lead guitar and vocals Mike Cooper – bass and vocals Richard Schulze – drums and vocals
All alive and kicking. Played around Dallas from 1964 to 1968, Studio Club regular. We recorded three songs written by Mike Jones but they never went past demo [“Father Brown,” “The Kind of Girl,” “Gone Tomorrow”]. All of us did vocals and that was one thing that we felt set us apart from some groups was the harmonies. Roe sang lead but the others sang back up three and sometimes four part.
We played similar venues as groups like The Novas, The Briks, Kenny and The Kasuals. We never called them rivals because we were all friends. Mike Nelson plays gigs with Kenny yet today.
From the Sensations Mike Nelson went on to play with Gladstone who had a top 20 song “A Piece of Paper” in 1973. Later he became founder and owner of Boomerang Musical Products.
Roe Cree went on with Rose Colored Glass. They had a top ten hit “Can’t Find The Time,” 1971. They played American Bandstand. Roe said Dick Clark was one of the nicest guy he had ever met.
Mike Cooper and Richard Schulze did not continue to pursue music.
Roe Cree’s brother Joe was in the U.S. Britons with Mike Jones, Larry McNeny, Herman Drees and Larry Meletio.
The Kandy Kolored Konspiracy came from Waco, not Dallas as has been written. Despite staying on local charts for a couple months, their 45 is now a rare one. “One Million People” includes some sharp lines like:
“Well I see reality is just an imperfection of the mind, What they do, and what they say is locked in a velvet wall of time, All they have is their lies and their cotton candy alibis…”
Gary Anderson, who wrote the songs on the single, tells the band’s full story below. If anyone has a photo of the Kandy Kolored Konspiracy, please get in touch.
Gary Anderson – lead guitar Rick Connor – rhythm guitar Don Bolan – bass Jimmy Campbell – keyboards Nick Connor – drums
My name is Gary Lane Anderson, and I was the songwriter and lead singer/lead guitar for Kandy Kolored Konspiracy — one of my early bands.
I developed the band name from a combination of Kandy-Kolored Tangerine-Flake Streamline Baby, a collection of Tom Wolfe’s essays that I was reading at the time, and a sense of the racial tension and paranoia of the times (the Konspiracy and KKK references).
I had taught myself to play guitar since age 14 and lived in the Waco, Texas, area at the time. The band’s drummer was Nick Connor, the rhythm guitar player was his brother, Rick, the bass player was Don Bolan, and the keyboard player was Jimmy Campbell, all of Waco.
At Buddy’s Teen Club, August 1969The band played constantly all over the Waco area and surrounding towns. We played for the opening of a Super Slide and a $.10 hamburger place in Waco. It was held in a huge parking lot. There were hundreds if not thousands of people there. All the local radio stations were present. This was during the time our record was out and we were a hot item in Waco. We also staged our own dances by renting a hall setting everything up ourselves. We did this at a large hall on Franklin Street in Waco owned by the YWCA. One time we drove to Dallas to open for Kenny Rogers and the First Edition.
I played a white Fender Mustang through a Fender Deluxe Reverb sitting on a Bassman 212 cabinet, I no longer own any of this equipment. The rhythm guitarist played a red Fender Mustang through a Fender Bandmaster. The keyboard player used a red Farfisa organ, I don’t remember what amp he used. I don’t recall the bass player’s bass or amp. The drummer played a set of Ludwig drums, the Hollywood set in a psychedelic color. This is the same equipment we recorded with. I don’t recall what we used for a live PA.
I wrote the music and lyrics for “One Million People,” and the music for “Konspiracy “68”– the B-side instrumental, in 1966 when I was 16 years old.
Robin Brian recorded us in late 1967, just after I turned 17, at the Robin Hood Studios in Tyler, Texas. On their website, www.robinhoodstudios.com is a picture of the recording equipment installed in 1963 and used to record our 45.
The drummer’s family had resources and arranged for the recording. The producer was Arnold Joseph “Joe” Poovey, known at the time as “Johnny Dallas,” and later as “Groovey” Joe Poovey. Joe had just produced the hit, “Heart Full of Love,” so we had high hopes for our 45. The only time I saw Joe was at the recording studio. The label was Media, and the publisher was Giant Publishing, but the only person we had any contact with was someone whose name I can’t remember, an associate of Joe’s.
The record was released in late 1967, but neither Johnny nor the label or publisher promoted it. I think we pressed 500.
When the record came to us, the credit on it was Gary Alexander, instead of Gary Anderson. Poovey’s associate said it must have been a printing mistake since he called in the information to the printer, but he never offered to correct it. I wondered later that the mistake was made on purpose to steal my copyright, in case the record took off, but at the time, I didn’t know things like copyrights existed. On the other hand, it could have just been an honest mistake. I do know that neither I nor my parents signed any contracts, so the legal handling of the project was sloppy at best, and I have not been able to determine who actually held the copyright, which would have expired around 1992 under old copyright law.
“One Million People” climbing the charts in the Waco Tribune Herald, June 9, 1968Although it was registered with BMI and played on the radio in and around Waco, Texas, and remained in the local Top Ten, as reported weekly in the Sunday newspaper for at least six weeks, as well as being Number One for several weeks, I never received a penny from them. We sold a few records in and around Waco, but the proceeds went to repay Nick’s family. I still have a couple of the singles. I also have an original psychedelic-styled poster, which was hand-painted by my girlfriend at the time, but we never had copies made of it. (Sidenote: She is now Lea Lisa Black (nee Douthit) on The Real Housewives of Miami.)
To my knowledge, nothing else ever came of the record until the A-side song got picked up by garage band web sites and placed on compilations from Germany and Australia. “One Million People” plays in rotation on several underground and garage band music stations around the world.
After high school the Kandy Kolored Konspiracy members went their separate ways. As far as I know, Nick, Rick and Don gave up music after the band broke up, and I don’t know about Jimmy.
Another player I went to high school with was playing in a band. They needed a guitar player and asked me to play. David Hall was the drummer. We had been aware of each other since elementary school because our parents took us to the same church. Playing in this new band we became friends. This band did not last long so David and I decided to form another band. This was the beginning of Warlock.
My high school friend had a girl friend named Gill. She and my friend from high school broke up and she started dating Buzz Gilleland from the band Society. On a side note, I played many years later in a band with the drummer from Society who had switched to keyboards. His name is Jesse Day. In the sixties he was known as Pucky Day. We played together in a country band called Fire Creek.
Gill got Buzz, David and I together. David knew a bass player named Mike McKissic. And Warlock was complete.
I continue to play, sing, teach and write in Austin and central Texas. To see and hear my current work and bio, please go to www.reverbnation.com/garyanderson4 or facebook.com
Gary Anderson
For more on Warlock see On the Road South. Thanks to Don Julio for transcribing the lyrics and to Mark Taylor for the label scan.
From left: Ronnie Maxey, Carl Boettger, Mike Duhom, Bill Irion, Curt Block, Billy Robbins, and Dwight Landry
Curt Block has a great garage single in October ’65, “She’s My Kind” that I’ve been trying to find for some time now. I still haven’t found a copy of that one, but recently I picked up one I hadn’t known of before, his 45 on Spindletop with the Dreamlites.
I don’t know much about Curt Block but I did find one mention on the Port Arthur News from December 8, 1974: “the Port Arthur Merry Mixers Club will dance to the music of ‘Curt Block and the Velvets’ from 8-11 p.m on Tuesday in the K C Hall, 315 Hardy, Nederland. The club is open to all single adults 18 years or older, but all married couples who met in the single movement are invited”.
By the time of that article Curt had been in the music business over 10 years. His 45 on Spindletop SR-45010 is from about 1963, featuring a vocal ballad “It’s Raining Again” (R. Philen) on the top side, backed with one of the shortest cuts I’ve ever seen on a pre-punk 45, the sax & guitar instrumental “Hang Out”, written by Block but credited to only the Dreamlites. Both songs were published by Neches Music BMI.
I asked Curt about his time in these bands and wrote to me:
In the Dreamlites I was only 16. Ray Fallon, sax, he went on to play for Roy Orbison. The guys in my band were Billy Robbins, Bill Iron, Dwight Landry, Ronnie Maxie, Mike Duhon. I played guitar of course. A TV show called Jive at Five had me and the band on many times.
I sang some with Johnny Preston and Jivin’ Gene, really great guys. I played 4 and 5 nights a week for many many years.
Spindletop had well over a dozen releases beginning about 1961, including a couple in-demand soul discs by Talmadge Armstrong and by Al Trahan. Curt Block’s single came about halfway through Spindle’s releases.
In October of 1965 he had another 45, this time credited to Curt Block & the Vibrations. The Vibrations were:
Curt Block – guitar and lead vocals Billy Robbins – rhythm guitar and back up vocals Dwight Landry – bass guitar Bill Irion – drums Ronnie Maxey – sax Carl Boettger – sax Mike Duhom – trumpet
I haven’t heard the top side yet, “With This Ring”, but the flip is excellent garage as long as you’re not one of the types that prefer their r&r without saxophone.
Curtis Block wrote both songs, published by Neches Music, BMI and recorded at L & F Recording Service in Port Arthur. Both Netra and Spindletop were based in Port Arthur, which was also home to the Basic Things who I’ve covered on this site. Like the Spindletop single, the Netra 45 is a Rite pressing.
Curt had one more single that I know of, “Hey Little Girl” / “You Were Mine” on the Gina label – if anyone has scans of this single please contact me.
Thank you to Tori and to Greg & Linda Haynes for sending in the photo of the band at top. Tori’s uncle Dwight Landry played bass with the group. Dwight passed away on April 20, 2014. Thanks also to Deborah for the caption to the photo, she reports her uncle Bill Irion passed away on August 20, 2015.
If anyone has a copy of the Netra or Gina singles for sale, or a photo of Curt Block with one of his ’60s groups, or knows any of the members of the Dreamlites or the Vibrations, please contact me.
It’s not certain if the label is The Invicta Way and different artists are listed at the top, or the group was The Invicta Way, and each side of the record has its own label name, or sub-artist.
“What Am I to Do” has Someone Else listed at the top. The keyboard sound is a combo organ, possibly a Gibson Kalamzoo, with distortion effect or overdriven amp (thanks to Mike’s comment below for the info).
“Things As They Should Be (Two Flowers Spreading Love)” has ‘Du Rango La Platz’ where the label name would usually go. I’m not sure what this refers to.
Dead wax reads INVICTA 45-2301/2 BRS. However, both songs were written by McRay for Kery Pub, BMI which suggests this was the work of one group. Ron Kery was producer for both sides. Released circa 1968.
As Westex points out in his comment below, Shades McRay was a San Antonio musician, who had a release on Domar DM-1111 as McRay and the Invictas: “Son-of-a-Gun” (written by Richard Dodd) b/w “Cheryl”.
There are two garage 45s in these lists, Shep & The Downbeats “Girl, Girl” / “You’re Never There” on the Roulette-distributed Satin label from NY, and Gary & Kyle “Stay With Me” / Smaller Than You” from San Antonio.
Any help with completing these discographies would be appreciated.
I could also use good quality scans of the San Antonio label 45s, and of the Adophus Bell
1st pressing distributed by Roulettelater West Coast pressing
New York:
All labels read “Exclusively distributed by Roulette Records” except for a green label with plain black text version of S-400, Annabelle Fox’s “Getting Through to Me”, which Mike Markesich states is a West Coast pressing and not the first issue.
The first three releases come in promo white label and two-tone green labels. 402 and 403 only seem to exist with promo white labels.
Satin S-400 – Annabelle Fox – “Too Good to Be Forgotten (Bell 40,004) / “Getting Through to Me” (mastered at Bell Sound 40,002) Satin S-401 – Al Hibbler – “Good for a Lifetime” / “Once Before” (Bell Sound 40,005) Satin S-402 – Annabelle Fox “Lonely Girl” / “Humor Me” (Bell Sound 40,003) Satin S-403 – Shep & The Downbeats – “Girl, Girl” / “You’re Never There” (both by Ted Kobran) (produced by Rama Wilson Associates, Bell Sound 40,009/10)
All except Shep & the Downbeats produced by Teddy Rendazzo, and published through South Mountain Music, BMI.
Most of the Rendazzo produced 45s have song writing credits to some combination of Rendazzo, Bobby Weinstein, R. Allison and L. Stallman.
Kurt L. sent me the scan of Shep and the Downbeats. Kurt remembers hearing that the band won the WABC Battle of the Bands, with a recording contract with Satin being the prize. The group played at Martin Van Buren High School in Queens Village, and likely were students at that school. The only name I can find in connection with the group is Ted Kobran.
Teen Beat Mayhem says the band was from Union City, New Jersey and gives a release date of August, 1966. Although “You’re Never There” rates higher than the flip in TBM, I think “Girl, Girl” is the better song.
Shep & the Downbeats has a “Rama Wilson Associates” production credit. This should read Ramal-Wilson, as in Bill Ramal and Marty Wilson. They had previously produced singles for Diamond.
A notice from Billboard’s October 22, 1966 issue states”new artists added to Ramal-Wilson Associates are Shep and the Downbeats, the Upper Crust, Gary Criss, Bruce Bruno and Carole Colby.”
Another Billboard notice from May 21, 1966 mentions Ramal-Wilson Associates producing the Ramblers on Red Bird and the Perfect Strangers on Capitol. “All sides were arranged by Joe Scott, staff arranger for Ramal-Wilson.” However, I’m not aware of any releases by these other artists.
New York (probably no connection to the later Satin label, above):
Satin 921 – Rhythm Rockers featuring Johnny Serrano – “Oh Boy!” / “We Belong Together” (Norvojak Music BMI) (October 1960)
New Orleans:
Satin 2-100 – Tammy McKnight – “What’s Her Name” (E. Darder – Allen Orange) / ? (SoN 1591, Chavis Music BMI, A Hi-Liter Production) Satin 2-101 – Al White & The Hi-Liters – “Johnny B Goode” / “Let That Guitar Roll” Satin 2-102 – Alex Spearman – “Mama-ka-toko-laka-poo-poo-yay” (L. Bonds) / “On Our Wedding Day” (Emelda Music BMI, SoN1561))
San Antonio, Texas:
Owned by Emil Henke, who also owned Warrior and part of Harlem. Mr. Henke passed away on February 22, 2002.
pink label with ribbon “S” in Satin. 411 S.W. Military Dr., San Antonio and “Emil J. Henke Production”:
Satin SA-001 – The Satin Kings – “Let’s Go, Let’s Go” (Ballard)/ “Matilda” Satin SA-002 – Charlene – “Rock Bottom”/ “Let’s Try Once Again” Satin SA-003 – The Mavericks, vocal: Moe Bandy – “Lonely Girl” / “Too Many Times Before” Satin SA-004 – The Trochais – “Give Me An Answer” / “Phantom” (both by Francis Akeroyd, 1966, B-side is a surf instr) Satin SA-005 – The Mavericks, vocal: Moe Bandy – “What Would You Do” / “As Long As There’s A Chance” Satin SA-006 – Satin Kings – “Mil Veces” / “Echale un cinco al piano” Satin SA-007 – Gary & Kyle – “Stay With Me” / “Smaller Than You” (both by Gary Young, Satin Music Pub SESAC, June ’66, duo from Poteet, TX) Satin SA-008 – Bailey Anderson – “Folsom Prison Blues” / “They’ll Never Take Her Love From Me” (6-66 1) Satin SA-009 – Moe Bandy & the Mavericks – “You’re Part of Me” / “Hey There My Friend” Satin SA-010 – Paul & Chuck – “House Of Blue Lovers ” / ? Satin SA-011 – Playboys – “Dame Licencia” (Hazme El Milagro) / “Nomas Por Quererte” (7-66-2) Satin SA-012 – ? Satin SA-013 – Playboys – “All I Do Is Cry” / “Little Playgirl” (Robert Suarez) 8-66 PB-3/4
pink label with a script “Satin” and no ribbon:
Satin SA-014 – Bailey Anderson & the Satin Gentlemen – “What Will The Answer Be” (Dayton Smith) / “The Satin Gentlemen” (1066 BA 4) Satin SA-015 – Playboys – “Falling In Love With You” / “Let Them Talk” (Joe Seneca) (LH-2836/7, December 1966) Satin SA-016 – Conjunto Los Navegantes – “Te Fuiste” (Rosendo Torres) / “Navegando” (Adolf Garcia) (167-CLN-1/2, LH-2876/7 “Spanish Series” Satin Music Pub)
stylized Satin logo on left with two lines above and below:
Satin SA-021 – The Ones – “Sure Gonna Miss You” (often marked up to read “Sure Gonna Miss Me”) / “What’s It Like To Be In Love” (LH-3299, 1967)
Satin SA-024 – Jimmy Payne, The Country Boys – “Standing at the End of My World” / “A Wound Time Can’t Erase”
two-tone label with Satin Records in box (except for SA-028 which reverts to the original ribbon S):
Satin SA-025 – The Lively Set – “Soul Diggin'” / “Blues Get Off My Shoulder” (vocal by Earl Adams)
Satin SA-027 – Jim Faber – “Just for a Moment” / ? (country) Satin SA-028 – The Casino Royal – “Don’t Mistake Me for a Fool” (D. Cruz, T. Zamudio) / “Return Of The Prodigal Son”
Satin SA-030 – The Three Dudes – “Sad Little Boy” / “I’m Beggin’ You” (Jan 1968, group aka Four Dudes, Images) Satin SA-031 – Michael Lord – “(Life’s a Ball) Lovin’ It All” (H.M. Byron) / “Its Only Make Believe” (Twitty)
Satin SA-033 – Nat y Los Music Makers – “Una Eternidad” / “Por Ultima Vez”
Satin SA-035 – Bailey Anderson – “The World’s Youngest Naughty Old Man” / “There Goes My Everything” (1969)
Satin SA-037 – The Satin Souls (vocal by Madison Mitchell) – “Gimme Some Lovin'” / “I’d Rather Go Blind”
Satin SA-041 – Michael Lord & the Romainaires – “St.James Infirmary” / “Take Five” (1969)
Satin SA-047 – Clique Camarilla – “The Ride” (Donny Leavitt) / “The Hello Song” (Prod. by M. Montgomery for Sabra Prod., Riviera Music BMI, 4-69-1)
Satin SA-061 – Ty Lemley – “Ramblin’ Ways” / “One Day at a Time” (country 45)
The Casino Royal is the same group as the Casino Royale on Key-Loc.
Pennsylvania (?):
Satin SAT-1111 – Adolphus Bell & the Up Starts – “Black Eye Peas” (C.A. Bott, W. Hutchingson, Joy Boy BMI) / “Lafin Gas” (C.W. Powell, D. Bell, S. Godfrey, Cevet BMI) (1031-45-SAT1111)
Blues Art Journal has an article on Adolphus Bell but the author seems unaware of this recording.
Plainview, Texas:
Satin RHB-1120 – Harry Bray & the Wheels – “I Lost My Love” b/w “Way Down South in San Antonio” (SoN 84892) country with drum machine!
Ogdensburg, NY:
Satin SR-561 – The Four Satins – “Drop Off” (Larry Costigan) / “Hip Hop”, possibly Jimmy Massia lead vocals (see this post on Utica entertainment for a little more info)
There was also a Satin label out of Washington state in the 1970s that had a 45 by the Main Attraction.
Thank you to Max Waller, Kent Chatellier, Michael Recendez, and Martin Hancock for their additions to this discography, and to Max for the Gary and Kyle scans.
The Passions came from Sherman, Texas, a town northeast of Dallas that had several bands including the Jack Rafters, the Five Coachmen and the Marquees.
Unlike those other bands, the Passions made a record, cutting the excellent “Lively One” / “You’ve Got Me Hurtin'” for Huey Meaux’s Pic 1 label, released in June 1965.
One person I spoke to referred to the band as Bill Galleon & the Passions. I thought Donald R. Mask may have been a member, as he wrote “You’ve Got Me Hurtin'” (his name is listed simply as Don Mask on the demo).
However, Alec Palao tells me the members were Gordon Eatherly, Bill Galyon, Larry Jannash, Roger Burkitt, Bill Shearin and Jerry Mullins, and that Eatherly was likely the leader of the band.
Besides the two songs on the single, the band recorded two cover songs that Big Beat will include on a compilation of bands on Meaux’s labels to be released Spring, 2013.
Does anyone have a photo of the group?
Mark Taylor supplied the scans seen here. Of the Sellers demo cut, he says “‘Lively One’ has an extra 40 seconds of harp wailing with an extra chorus, and ‘You Got Me Hurtin” has about 20 seconds extra of ‘yeah yeah yeah'” compared to the Pic 1 versions.
Guitarist Gary Dennis sent in the photo of the Jack Rafters above. Like the Five Coachmen and the Marquees, the Jack Rafters were from Sherman, Texas, and like those bands, the Rafters never released a 45. The only band from Sherman to release a record was the Passions, who have the great “Lively One” / “You’ve Got Me Hurtin'” on Pic 1, who I’ll cover soon.
This picture was taken at the Bells, Texas high school Sr. Prom in the Municipal Building, Sherman, Texas May 1965. The Jack Rafters are right-to-left: Mike Hallett, Bobby Kincaid, Jerry Tucker, Gary Dennis.
Bill Galleon and the Passions were playing gigs and we decided that we could too. The Rafters were a hardcore party band. We rented local venues, advertised by word of mouth and sold cokes. Our parties mostly ended in drunken events that were parents worst nightmares. Years later our ex-sheriff told me that he loved our parties because he could just park outside and keep tabs on all the trouble makers. After seeing our success, several other bands came along that you mention on your website. We made money and had a great time. Our music was pretty bad, but nobody cared.
One of our friends, Ben Mandeville, had some state-of-the-art recording equipment and he recorded all our performances. Sadly this was before digital tech and I doubt that anything survived.
The Mind’s Eye at the Action Spot, October 1967 From right to left: James Morris, Mark Finley, Gary O’Neal, Carroll Fuller, with drumsticks in back pocket. In the background is Karen Nunneley, and Larry Lemons
A couple years ago I posted list of bands playing the 1967 Texas State Fair. Many of the groups named are still a mystery to me. There were other bands who played who weren’t even on the list, including this group from a small town near the Oklahoma border.
Carroll Fuller sent in the photos and wrote to me about the Mind’s Eye, and in 2016 Larry G. Lemons gave this history:
Although not listed on your clipping, The Mind’s Eye, from Nocona, Texas, also played in the Battle of the Bands on the Action Spot Stage at the 1967 Texas State Fair. Pictured here are the original members from right to left are James Morris (bass guitar), Marcus Finley (rhythm guitar), Gary O’Neal (lead guitar), Carroll Fuller (drums). In the background are Karen Nunneley (organ and vocal), and Larry G. Lemons (organ).
The band played together at youth centers, dances, and parties in and around Montague County (north of Fort Worth near the Red River) from 1966 to 1968. Marcus was later killed in a tragic motorcycle accident. After a time, James and Karen left the group to pursue other interests. Gary, Carroll, and Larry continued on and added Glen Idell to the lineup on bass.
After disbanding in 1968, Gary and Karen went on to play professionally for several years as each explored other styles of music including gospel and bluegrass. All members went on to pursue successful careers outside of the music industry.
Almost fifty years later, because of their life-long friendships and a love for 60’s rock and roll, the band has reunited to play a one-off concert at their local Nocona High School Triennial Homecoming as they reprise many of their favorite songs. Added to the line-up for the concert will be bass guitarist extraordinaire and master sound engineer, George Geurin, another Nocona 60’s garage band musician who played with Concrete Flower.
Larry G. Lemons
Carroll Fuller adds:
Following us was a band from Denton called The G’s [one single “There’s a Time” / “‘Cause She’s My Girl” on the Young Generation label]. The G’s were a very talented bunch, or at least they were to us, coming from a small town and all! I just remember them playing “Things I Should have Said” by the Grassroots that really blew us away!
Gary, our guitarist and vocalist went on to play with a band out of Bowie, TX called Horsefly.
Carroll Fuller
The Mind’s Eye at the Action Spot, Texas State Fair, 1967The Mind’s Eye, Texas State Fair, 1967 from left: Marcus Finley, Carroll Fuller, Karen Nunneley, Gary O’Neal, James Morris, & Larry G. LemonsThe Mind’s Eye at the Action Spot, Texas State Fair, 1967
Jimmy Nichols ran a recording studio in McAllen, Texas and owned the Pharaoh label. The Zakary Thaks and Bad Seeds used Nichol’s studio for their early singles. I’ve read that the studio burned down years ago with whatever stock and master tapes was left in it.
Pharaoh discography:
Any help with this would be appreciated
LP: 1001 – Ray Wray Quartet – Yes Indeed!
45s:
101 – Ray Wray Quartet – “A Song Is Born” / “When Your Love Has Gone” (with picture sleeve – see above) 102 – Robert Burnie – “My Twistin’ Mexicali Baby” / “Come Just a Little Bit Closer to Me” (J. Nicholls) Division of Alki Alki Music Pub. BMI 103 – Johnny Jay & the Pompadors – “You Drive Me Crazy (You Drive Me Wild)” (Johnny Mendez) / “I Feel So Lonely” (Benny Mendez) 104 – Billy Myers Combo – “Oso” / “Ten Little Indians” (some copies on red vinyl) 105 – Johnny Jay & The Pompadors – “She’s Gone And I’m All Alone” / “I Want You So I Need You So” 106 ? 107 ? 108 ? 109 – Don Blakey – “Mona Lisa” / “Danny Boy” 110 – Marvin Nash and the “K” Sisters – “I’ll Cry” / “Happiness” 111 ? 112 ? 113 – Davis Brothers – “I Don’t Hear You” / ? 114 – Noe Pro & The Blue Valiants – “Hit Me With The Stroll” / “My Love Is Real” 115 – Marvin Nash and the Chevelles – “Darling” / “Dina” (1961) 116 – Don Bennett And His Orchestra – “That’s All” / The Balladiers with Don Bennett And His Orchestra - “Texas A & M Waltz” 117 – Don Bennett & Orchestra – “Jersey Bounce” / “Only A Dream” 118 – Noe Pro and the Blue Valiants – “I Know” / “Reina de mi Vida” 119 – Little Joe Parker and the Vikings – “Straight Jacket” / “Feed the Chickens” (both by Joe Gonzales) 120 ? 121 – Noe Pro & the Blue Valiants – “Come Along My Baby” / ?? (1964) 122 – Little Joe Parker and the Tigers – “Is That A Tiger In My Tank” / “Movin’ On” 123 – Ronnie Dale – “You’ve Learned How To Cry” 124 – Noe Pro and the Semitones – “I Know What’s Been Going On” / “I Love You My Darling” 125 – The Cruisers – “An Angel Like You” / “The Lonely” 126 – Jeanne Hatfield – “My Babe” / “Summertime” (March 1965) 127 ? 128 – The Cruisers – “Another Lonely Night” / “Please Let Me Be (The One For You)” (with picture sleeve) 129 – Simon Reyes & the Outerlimits – “My Baby Hurts Me” / “Mistake Number Three” 130 ? 131 – Billy D. Nash – “This Little Light Of Mine” / “There Is A Balm In Gilead” (with picture sleeve) 132 ? 133 – George and the Lion’s Den Trio Here’s George – “The Swinger” / “Crazy Ideas” (with picture sleeve) 134 – Arturo & Pat with the Invaders – “Oh Yes Tonight” / “So Tenderly & Faithfully” 135 – Jim Roberts – “Jukebox for Company” / “Hay for My Donkey” 136 – George and the Lion’s Den Trio – “Tequila Sour” / “Como Prima” 137 – The Cavaliers – “Pride” (Billy Rowe) / “Sea Weed” 138 – Danny Mata & the Pathfinders – “Looking Around” / “Iolavay” 139 – The Cruisers – “My Place” (E.J. Ledesma) / “Walkin’ and a Ridin'” 140 – Eddie & the Emeralds – “Preparation X” / “If You Only Knew” 141 – The Playboys of Edinburg – “Wish You Had A Heart” (James Williams) / “Understand Me” 142 – The Playboys of Edinburg – “Look at Me Girl” / “News Sure Travels Fast” (James Williams) 143 – Simon Reyes – “Broken Hearted Fool” / “What Now My Love” 144 – Jeanne Hatfield – “Wowie, Pretty Scary” / “If You Want Me” 145 – Don Pierce – “Take Another Drink” / “One Man Band” 146 – Thee Kavaliers – “That Hurts” / “Symbols of Sin” ( both by Javier Rios) 147 – The Headstones – “24 Hours (Everyday)” / “Wish She Were Mine” (both composed by Dave Williams) 148 – The Cruisers – “The Fire’s Gone” / “Oh! Sweetness” 149 – George Garza & the Lion’s Den Trio – “Watermelon Man” / “Blue Moon Of Kentucky” (1966) 150 – Thee Kavaliers – “The Last Four Words” / “Ballad Of Thee Kavaliers” 151 – Christopher & the Souls – “Diamonds, Rats and Gum” / “Broken Hearted Lady” (both composed by Chris Voss) 152 – The Headstones – “Bad Day Blues” (Williams-Palmer) / “My Kind of Girl” (Dave Williams) 153 – Brother & Sister – “See What Tomorrow Brings” (Arturo Longoria) / “The Answer Is Love” [flower-power folk!] 154 – Thee Kavaliers (Cavaliers) – “Congregation for Anti-Flirts, Inc” / “Back to You” 155 – The Cruisers – “Celina” / “Baby Doll”
I had erroneously listed 141 and 142 as by the Playboys of Edinburgh, but they were not named after the Scottish city, but rather after Edinburg, TX, a small town northeast of McAllen.
Chicago: Pharaoh Records 7707 – Hot Coke – “Make This Love Last” / “All By My Self”
Massachusetts: (pressed either in NY or Hollywood): Pharaoh SA-327 – Roy Victor – “Hot Dog” / “You Are My Wish” (ZTSP-94713, arranged and cond. by Fran Devino, Harvest Hill publishing, ASCAP) Pharaoh 339 – Scavengers – “You Do It Too” / “Speed Trap”
Tulsa, OK:
Pharaoh 1006 – Paragons – “Who Am I” / “Will You Still Love Me Tomorrow” (also released on BTR 1006)
Pharaoh 1235 – Dynamics – ” Lucy Part I” / “Lucy Part II”
Pharaoh 1236 – Roger Wayne & the Clic – “Ballad Of Sara Lee” / “I Gotta Lotta Time”
Pharaoh 1239 – Mike Catron & the Avanties – “Donna” / “Bass Beat”
Thank you to Gilbert Rodriguez for his help with this discography and to Ed Nadorozny for the Ron Wray sleeve scan. Thank’s also to Bob, Drunken Hobo, Jason Chronis, Max Waller and Tommy for the additional entries. Thanks also to Fred Hoyt for the Jeanne Hatfield sleeve scan.
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
Thee Kavaliers had four singles on the Pharaoh label, the most releases of any artist on that label.
My name is Gary Lane Anderson, and I was the songwriter and lead singer/lead guitar for Kandy Kolored Konspiracy — one of my early bands.
pink label with a script “Satin” and no ribbon:
Jimmy Nichols ran a recording studio in McAllen, Texas and owned the Pharaoh label. The Zakary Thaks and Bad Seeds used Nichol’s studio for their early singles. I’ve read that the studio burned down years ago with whatever stock and master tapes was left in it.
118 – Noe Pro and the Blue Valiants – “I Know” / “Reina de mi Vida”
I had erroneously listed 141 and 142 as by the Playboys of Edinburgh, but they were not named after the Scottish city, but rather after Edinburg, TX, a small town northeast of McAllen.