Category Archives: Virginia

The Individuals

The Individuals, from left: Tommy Redd, Ronnie Vaughan, Ronnie Couch, Ben Vaughan and Sammy Moser
The Individuals, from left: Tommy Redd, Ronnie Vaughan, Ronnie Couch, Ben Vaughan and Sammy Moser

Individuals Raven 45 I Really DoRevised February/March 2010

The Individuals cut their only 45 at the House of Sound in Danville, Virginia on July 11, 1967, both songs written by Tommy Redd. On “I Want Love” the band runs through standard blues changes as Tommy delivers snotty, half-strangled lyrics “I want my love, baby!” A slow fuzz riff and gloomy organ anchor “I Really Do” for Tom’s garbled vocals and fake Cockney-accented recitation.

The group was from rural Halifax and South Boston, Virginia. The group had started in 1965 as the Rhythm Makers, changing to the Individuals in 1966. Members were Ben Vaughan lead guitar, Ronnie Vaughan rhythm guitar, Sammy Moser organ, Ronnie Couch drums and Tommy Redd on bass and vocals. Someone told me Ray Ferrell took over on keyboards later on, but Ronnie says Ray wasn’t in the band and that Mike Oakes was their second keyboard player.

As the article below states, 500 copies were pressed, of which 300 were mailed to radio stations across the country. The 45 received some play on WHLF in South Boston and also in Danville. Someone told me that some of the leftover copies were used for target practice, a not-uncommon occurrence at the time, but Ronnie Couch wrote to me:

Not true on the left over Raven 45s. They were put in local stores such as Leggett’s Deptartment Store, Roses, J.J. Newberry’s and some others. We sold them and put in another order for more copies. I still have a few left.

I have copies of a radio station playlist in Brookneal, Virginia that we were on the local charts. We also played live many times on our local radio station WHLF on a radio show ran by a DJ named Al Mapes.

The article announces the group planned to cut a second record, “The Fire Is Out”, but Ronnie Couch tells me it was never recorded.

Contrary to what I’ve read elsewhere, the Individuals’ Tommy Redd was not the same person who went on to play with Stax of Gold in Jacksonville, North Carolina, a band which later became Nantucket, with releases on Epic Records.

The Individuals - Nashville Record Productions Acetate for Raven 2018 (detail)
The Individuals – Nashville Record Productions Acetate for Raven 2018 (detail). Flip has the songs for the IV Pak’s Hippie single.

Special thanks to Marty Key for loaning the 45 for me to scan and transfer, check out his site Funky Virginia. Thanks to Ben Brown of Raleigh for info on the Ralph Viar 45.

Thanks also to Ronnie Couch for providing the scan of the article, and to Jack Garrett for the scan of the acetate and many of the photos seen here.

 Individuals article in the Gazette-Virginian, September 3, 1967
Article in the Gazette-Virginian, September 3, 1967
House of Sound/Raven, Hoss and Piedmont Records Danville Register, October 19, 1968
Inviduals show with the Soulmasters at the T-Bird Country, Danville Register, November 19, 1967
Show with the Soulmasters at the T-Bird Country, Danville Register, November 19, 1967

The Hazards

 Sonny Salisbury and Stan Bernstein of the Hazards
Sonny Salisbury and Stan Bernstein of the Hazards

The Hazards "Hey Joe", Groove 45-502
The Hazards “Hey Joe”, Groove 45-502
Here’s one of the all-time great versions of “Hey Joe”, cut by a group of high-schoolers in Richmond, Virginia.

Band members were Andy Hrabovsky vocals, Sonny Salisbury lead guitar, Alan Sidenburg guitar, Greg Ellison bass, Stanley Bernstein organ, and David Moore on drums.

Andy Hrabovsky added some specifics about the band members in a comment below:

David Moore and Stanley Bernstein went to Thomas Jefferson High, Greg Ellison and Alan Sidenburg went to Douglas Freeman, and Sonny Salsbury and myself went to John Randolph Tucker High.

Stanley left the band not long after the release of “Hey Joe”, and was replaced by Steve Bassett from Freeman, who has gone on to some degree of notoriety. He and Robbin Thompson [of the Tasmanians] did “Sweet Virginia Breeze”.

Sonny Salisbury really distinguishes their take on “Hey Joe” by alternating staccato picking high up on the frets with fuzz riffs on the bass strings. Hrabovsky delivers some of the best shouting on vinyl and the rest of the band is solid as well.

The flip is the milder “Will You Be My Girl” by Stan Bernstein and Andy Hrabovsky. The record was produced by Martin Gary.

My copy seems to be from a radio station, dated June of ’67, and though both sides have “keep in regular play” written on them, “Hey Joe” is also marked to be played only after 6 PM!

The Groove label was owned by Marty Gary. Radio play on local WLEE led to a second pressing on a blue label. I’ve seen the band referred to as the Hazzards, with two ‘z’s, but on the label it’s just Hazards.

Thank you to Stan for the photo at top.

The Vikings (VA)

The Vikings started at Oscar Smith High School in South Norfolk. Members were Vernon Michael and Donnie Stowe on vocals, Eddie Swindell lead guitar, Frank Jackson rhythm guitar, Wesley Harris organ, Huey Gates bass guitar, and Don Havice drums. Mike Ruggles and Tom Burlage were in the band about a year until they went to college.

They won a Battle of the Bands in Feb. 1967 at the Ponie Teen Club on Godwin Ave, then known as the Portlock Au Go Go. They also participated in WNOR’s Battle of the Bands on Sept. 22, 1967, at the Dome in Virginia Beach, competing against the Aliens, American Shags, Beechnuts, Denis & the Times, Regents with Mel Gaines, the Sound Effects, and the Stingrays.

Although an article in the Chesapeake Post on Aug. 23, ’67 states that the band will soon be recording their first song, “Why Did You Lie,” an original by Eddie Swindell and Donnie Stowe, the band never did record. Their set list included dozens of songs, both rock and soul.

Eddie Swindell says “Donnie and Vern sang both rock and soul and harmonized together like Sam & Dave. I knew members of the Swinging Machine, Barracudas, Bill Deal and the Rhondels most of the bands in the area. Some of us are still performing. I also played in a band in the 70’s with Dickey Harrell the drummer from Gene Vincent and the Blue Caps I see him around occasionally. I have a scrap book with articles and pictures of local bands listing dates and places they were gigging.”

The Vikings reunited in 1989, and again in 2007 for a benefit concert.


1st row sitting Eddie Swindell. 2nd row left to right: Hue Gates, Mike Ruggles, Tom Burlage, Frank Jackson, Donnie Stowe.
Back row: Marty Rogers, Vern Michaels, Wes Harris.

Jimi Hendrix and the Soft Machine at the Virginia Beach Dome

Jimi Hendrix and the Soft Machine at the Virginia Beach Dome, April 3, 1968. Photos courtesy of Diane.
Jimi Hendrix and the Soft Machine at the Virginia Beach Dome, April 3, 1968. Photos courtesy of Diane.
Jimi Hendrix and the Soft Machine at the Virginia Beach Dome, April 3, 1968. Photos courtesy of Diane.
Jimi Hendrix and the Soft Machine at the Virginia Beach Dome, April 3, 1968. Photos courtesy of Diane.

Bill Stokley writes:

The Virginia Beach Dome seated about 1000 people. I was 16 and got to drive to the show myself!!! What a show! Jimi blew the doors off the place. You could walk right up to the stage and take pics. Got one of Jimi sliding down the neck during Foxy Lady.

I remember using a little camera that was my moms. The negatives were stolen back in high school.

Update, February 2012

As the ticket stub above clearly shows, the first Hendrix show was on April 3, 1968, not the 4th as I had posted before. The 4th was the day Dr. Martin Luther King was assassinated in Memphis. Thanks to James for bringing this to my attention.

However, some Hendrix references state the concert took place on the 4th (source seems to be Noel Redding’s diary). One commenter below remembers the news about Martin Luther King’s assassination spreading during the concert, which would indicate the 4th. Was the date changed from the 3rd to the 4th?

Jimi Hendrix at the Virginia Beach Dome, August 21, 1968. Bill Stokley: "I remember he wasn't that good at this show and didn't play very long." Photos by Bill Stokley
Jimi Hendrix at the Virginia Beach Dome, August 21, 1968. Bill Stokley: “I remember he wasn’t that good at this show and didn’t play very long.” Photos by Bill Stokley

Eon sent in the following set of photos from the same show. Jimi may not have played very long, but the ending was spectacular:

Here's a description of the August 21 show from Chuck Taylor, General Manager of WTJU-FM Charlottesville, VA.
Here’s a description of the August 21 show from Chuck Taylor, General Manager of WTJU-FM Charlottesville, VA.

I played drums (poorly) in High School at Virginia Beach but still really liked to hear a good drummer. In 1968 I had a picture in my bedroom of Robert Wyatt playing drums for Soft Machine right next to my Peace Poster bought a shop on Eden Alley. Eden Alley hosted a series of hippy paraphernalia stores from an alley just off Virginia Beach Blvd. between Atlantic and Pacific Avenues.

That summer of 1968 I begged my parents to let me go to my first concert…to see the Soft Machine at the Virginia Beach Dome, August 21, 1968. Soft Machine was opening for a guitarist-led trio that was also getting a bit of press at the time. I had just turned 16 in May and so I had only recently gotten my drivers license and they were reluctant to let me go.

There were two shows that night. Because of my age my folks finally capitulated and said I could go to the first show…not the second. I argued with my mother over what to wear to a “concert”. She said you need to dress up (suit & tie!) for a concert. She was unconvinced that this “concert” would be different and refused to let me leave the house without at least loafers, nice pants and a collared shirt. I smuggled some blue jeans, tennis shoes and a t-shirt into the car and changed my clothes on the way. (I went to this concert by myself but cannot remember why)

That summer evening I drove the 6 miles from my house in Kings Grant (subdivision) to the Virginia Beach Dome. When I pulled into the parking lot I had one of those “we’re not in Kansas anymore” reactions as I quickly saw that my attempt at “casual hipness” missed in ways that I could have never imagined. Jeez there were lots of strange looking people in the parking lot! The show was introduced by a local goofy WGH-AM radio host Gene Loving, who couldn’t turn off the “AM radio” approach.

Once I was inside and seated (I actually had an excellent view if I remember correctly) the first band Eire Apparent performed a mildly psychedelic set that was pretty cool but not particularly memorable.

Next up, The Soft Machine (Cuneiform Records is doing an excellent job releasing many Soft Machine rarities). This version of the band was three musicians: Robert Wyatt, Kevin Ayers, & Michael Ratledge. The bass player left the tour about one month before they arrived at Virginia Beach. His name was Andy Summers (yep, the very same bassist later to be in the Police).

As for the set: an extremely intense and loud set ensued featuring music from the first and second Soft Machine records. At the end of the set, Ratledge pushed his organ off the stage causing such severe feedback that my ears are still suffering! Gene Loving attempted his AM stage patter over the raging feedback but quickly gave up. Finally, they shut down the power in the entire building to quiet the feedback but of course, plunging the whole place into darkness. About 20 minutes later the Jimi Hendrix Experience took the floor…

Though Hendrix performed and did various acrobatic stunts he left his guitar intact by the end of the first show. I cannot remember ANY details of the performance other than I came out the other side with a new religion! The general thought was that the destruction of Ratledge’s organ was a “gift” to those expecting destruction from Hendrix. According to friends who attended the second set, Hendrix burned his guitar. As result of that action Hendrix became the first of two hard rock bands in the 60s to be banned forever from the state of Virginia. The second band was the MC5 who played at a small club in Hampton and incited attendees to riot during their show.

This is my ticket stub with tape marks: In the late 60s I kept a scrapbook of the developing music and political scene.


Chuck’s ticket stub to Hendrix, Soft Machine, & Eire Apparent

Thank you Bill, Diane, Chuck and Eon!

Sound On Sound “Girl, You’ve Got to Turn Me On” on Tunnel Records

Sound on Sound at the Time Tunnel, circa 1967, from left: Stony Ratliff on keyboards (tie and jacket – barely visible), Chris Shortridge, singer (white pants and jacket), Dan Rose on guitar (dark pants and shirt), Larry Lester on bass, and Terry Long on drums. Eddy Dixon usually stood between Larry and Terry, but was taking this pic.
Sound on Sound Girl, You've Got to Turn Me On, Tunnel RecordsSound On Sound were from Grundy in the western part of Virginia, close to a three hour drive to any large city like Roanoke or Johnson City, Tennessee.

The original group consisted of Ed Dixon lead guitar, Curtis Shortridge guitar, Stoney Ratliff organ, Larry Lester bass and Terry Long on drums. Looking for a singer they found Oakwood’s Danny Rose of the Kool Kuzzins, who had cut an excellent 45 on Spot in 1967, “Love Can Be True” / “Hey Little Girl”.

Sound On Sound played back country gigs until they opened their own club, the Time Tunnel, in Garden Creek, about 10 miles from Grundy.

From the Virginia Mountaineer:

These young men performed at a nice, wholesome hangout in 1967 at Young’s Branch for the young people in our community. The teens danced and had lots of fun!

In 1968, at a radio station in Big Stone Gap they recorded their only 45, produced by Joe Deaton. The A-side was the sleepy “My Little Girl”, but on the flip is the much more electric “Girl, You’ve Got to Turn Me On”. Dominated by Stoney Ratliff’s organ style, Ed Dixon’s guitar buzzes in around the vocals while Terry Long smacks the kit and Larry Lester plays runs on the bass, making a great single all in all!

In the 1970s, Curtis Shortridge played bass and sang backup with a group called Phoenix, with Danny Perkins, Lonnie Perkins, Kenny Hale, Randy Long, Ken Jordan and others. Phoenix lasted into the 1980s, and released a single “Loving You” on Transworld Records, recorded at Tandem Recording Studio in Bristol, VA, engineered by Joe Deaton.

Thank you to Selena Long for sending in the photo at top.

Sources include: The Virginia Mountaineer, and liner notes to Aliens, Psychos and Wild Things vol. 2.

The Swinging Machine

The Swinging Machine at the South Norfolk Armory, from left: Wayne Richardson, Vince Screeney, Bobby Fisher, Lee Caraway, Dicky Bocock, Bobby Weaver and Gary Richardson
The Swinging Machine at the South Norfolk Armory, from left: Wayne Richardson, Vince Screeney, Bobby Fisher, Lee Caraway, Dicky Bocock, Bobby Weaver and Gary Richardson

I’ve read many accounts that consider the Swinging Machine the best of all local bands in the Tidewater area back in its day.

In 1963 three friends from Oscar F. Smith High School in South Norfolk formed the Chevelles. The group included Evan Pierce, Jr. (lead guitar), Richard Bocock (drums) and Steven Curling (saxophone). At Old Dominion University they met Esdras ben Lubin who took over on lead guitar and vocals, and suggested the band change their name from the Chevelles to the Swingin’ Machine. The addition of fifteen-year-old Billy Gene Stallings on organ helped their musical acuity considerably.

Esdras left the band and the group found Gary Richardson and Lee Caraway from the Villagers (out of Churchland High School in Portsmouth). Steve Curling left for college and was replaced by Bob Fisher, though Steve would occasionally sit in with the group.

At the time of the release of their 45 the band consisted of:

Gary Richardson (vocals)
Lee Caraway (guitar)
Billy Stallings (organ)
Bob Fisher (sax)
Evan Pierce (bass)
Dick Bocock (drums)

Swinging Machine S.P.Q.R. 45 Do You Have to Ask

Swinging Machine S.P.Q.R. 45 Comin' On Back HomeAccording to Evan Pierce, the band fought with their producer Frank Guida and was disappointed in the record. However, fans of the mid-60s band sound really love this 45, with “Do You Have to Ask” being especially tough and original. Frank Guida who was also owner of S.P.Q.R., is listed as one of the songwriters. “Do You Have to Ask” was recorded in the fall of 1965, “Comin’ On Back Home” five or six months later.

“Comin’ On Back Home” reached #39 on a Syracuse, NY AM radio station, WOLF 1490 in early June, 1966. How it reached the charts so far away from their base is a mystery.

Besides the 45 there is an early version of “Do You Have to Ask” and a simply amazing rocker, “Brother Look Out” that were unreleased at the time. They’re both now available on the Aliens, Psychos and Wild Things series.

There is also a tape of ten cover songs recorded in a studio, probably made as a demo to get live gigs. The songs include versions of “Tell Mama”, “Ain’t Too Proud to Beg”, “Fire”, “Spooky”, “Get Ready”, “Wrap It Up”, “Sunshine of Your Love”, “Rock and Roll Woman”, “To Love Somebody” and “Dear Eloise”.

I would love to hear a live recording of the band – if anyone has a tape, please get in touch.

In 1967 Wayne Richardson joined on trumpet. Bob Weaver was a later member as well. Vince Screeney from the Sting Rays replaced Evan Pierce while he was in the army. Rocky Cantrell filled in on occasion.

Gary Richardson died tragically from a drug accident in July of 1968. The Swinging Machine continued for a short time with William “Rocky” Smith on vocals, but soon disbanded. Dick Bocock and Bob Weaver formed a new group, the Machine.

Producer Frank Guida passed away on May 19, 2007.

I want to say thank you to Diane for sending in these rarely seen photos of the band. Diane and Lee Caraway were married until he passed away in 1979.

Diane had this to say about the photos:

Anyone who hung out with the band will know the panel truck. That was their equipment truck for many years.

The Lighthouse pics show them unloading the equipment and setting up for the dance that night. The pics of them on stage don’t do it justice because the camera won’t pick up all the colors and psychedelics flashing on the stage background, the lights in that place were hooked into the sound system.

One pic is Gary and Wayne Richardson standing in front of a cottage the band was staying in at Nags Head when they were playing at the Casino.

Steve Curling wrote to me with his recollections of the band:

I will give you a brief history of the band as I saw it.

The band originally was called “The Chevelles” which consisted of Evan Pierce on bass, Dickie Bocock on drums, Bobby Fisher and myself on sax (I doubled on trumpet) and several different lead guitar players but the one I remember most was Eris Ben Lubin [Esdras ben Lubin] who was older and taught us the ropes. We didn’t have an established keyboard player until Billy Stallings came along.

The band centered around Dickie’s home. Dickie’s father was a prominent doctor in South Norfolk and financed most of the equipment for the band. I loved hanging out at Dickey’s because he lived on the Elizabeth River on about 4 acres with a pool and a 85 foot yacht named the Blue Haven which we spent many days and nights, plus he had all the toys including speed boats and a 1967 Olds 442 which Dickie and I decided to total one night coming back from the old Ambassor’s club in Portsmouth.

I remember playing at several of the clubs on the Naval Base, the Ambassor’s Club which we called the AB Club, the lighthouse and the casino at Nags Head. We realized that we needed a steady lead guitarist and a lead singer. While interviewing Gary Richardson for lead guitar we discovered he was a much better singer than guitar player plus his friend Lee Caraway came with him and he turned out to be a great lead guitarist and Gary stuck with singing. So the band was formed as the Swinging Machine and it really took off.

There was a battle of the bands and several groups entered the competition. Most of the people voted for their own local favorites. Since Gary and Lee were from Portsmouth and the rest of us were from South Norfolk we had the inside track on the voting from both Portsmouth and South Norfolk.

After we won the battle of the bands, things really started to happen but I had to make a decision on whether to stay with the band on continue with school. I left the group and headed to Roanoke College where I played on the weekends with several bands including Ricky and the Romans, a local Roanoke band consisting of 8 members.

During this period Evan joined the Army and only played when he had leave. In his absence, Vince Screeny filled in and did a great job. After Evan’s Army service he returned to the group. I would occasionally play with the group but by this time they had become established with one sax and I mostly just filled in when needed on sax, bass and trumpet.

I don’t recall the band ever going to California but I do remember talking about it since I was dating a girl from Los Angeles at the time and she was looking into renting a house for us in the Santa Monica area but it never happened. Instead we rented an old 2 story house off Indian River road and most of us hung out there to party, sleep and practice.

It was in this house that Gary died. He actually died on his own vomit. Bobby Fisher tried CPR but was unsuccessful. The band was scheduled to play at the Peppermint Beach Club and canceled. The band continued on for a while but disbanded shortly afterwards.

Lee decided to go into the ministry and rented a house from my uncle, Herman Johnson in the Great Bridge area off Cedar Grove Road. I saw him a couple of times with his Church bus but he had changed. Later I found out that he had a brain tumor which he succumbed 4 years later.

Bobby Fisher went on to play with Bill Deal and the Rhondels but by far the most talented member of the group was Billy Stallings, who was trained at Juilliard School of Music in New York. Billy practiced 6 to 8 hours everyday for years. His father owned the Triangle Billiards in South Norfolk. Needless to say, Billy could play anything. As soon as a new song would come out, Billy had already learned all the parts including the lead guitar, bass and the brass parts.

Billy was never a healthy person and the life of a musician was a hard one. Later Billy moved to Baltimore and I saw him one time at Evan’s home years ago. I understand he passed away a couple of years ago.

After the band broke up Dickie lived alone in the home his father had built on the river. His father had a heart attack and died after the band was established. He has two brothers, Tom and Harry. I always thought is was funny that they was known as Tom, Dick and Harry Bocock. I would visit Dickie when I was in town and we would sit and reminisce the band.

I recently retired from USAirways and live on Lake Norman, North of Charlotte, NC. Evan Pierce owns an appraisal business in Norfolk. I hope this gives you an insight of the Swinging Machine as I lived it. It was a part of my life I will never forget.

The Swinging Machine promo photo

Lee Caraway with the Swinging Machine van
Lee Caraway with the Swinging Machine van

Photos below from the Lighthouse, April 1968

Setting up at the Lighthouse
Setting up at the Lighthouse
Interior of the Lighthouse
Interior of the Lighthouse
Bobby Fisher and Vince Screeney
Bobby Fisher and Vince Screeney
Lee Caraway and Wayne Richardson
Lee Caraway and Wayne Richardson
Lee Caraway
Lee Caraway
Lee Caraway and Gary Richardson
Lee Caraway and Gary Richardson
Bobby Fisher on right
Bobby Fisher on right
Dickie Bocock
Dickie Bocock
Billy Stallings at the Lighthouse
Billy Stallings at the Lighthouse
Lee Caraway at the Lighthouse
Lee Caraway at the Lighthouse
Gary and Wayne at Nags Head - July '68
Gary and Wayne at Nags Head – July ’68
Bob Spain and Lee Caraway - July '68
Bob Spain and Lee Caraway – July ’68
Poster for The Swinging Machine and Willie T. & the Impressions at The Other Place
The Swinging Machine and Willie T. & the Impressions at The Other Place
Poster for Wayne Richardson, Sherry Cheston and the Proclaimers at the Upstairs, Virginia Beach
Wayne Richardson, Sherry Cheston and the Proclaimers at the Upstairs, Virginia Beach
Poster for The Swinging Machine at Ohef Sholom Temple
The Swinging Machine at Ohef Sholom Temple
Poster for The Swinging Machine at Sigota Dance, Temple Israel
The Swinging Machine at Sigota Dance, Temple Israel
Poster for opening weekend at the Light House, July 1967! Other groups include the Prophets in Flight, the Chaparrals, Beachnuts and Sound Effects.
Opening weekend at the Light House, July 1967! Other groups include the Prophets in Flight, the Chaparrals, Beachnuts and Sound Effects.
The "Swingin' Machines" opening a WNOR show for acts from Where the Action Is at Norfolk's Foreman Field along with lesser known groups like the Wild Kingdom, the Triumphs, the Knights and Kon Tiki and the Rafters.
The “Swingin’ Machines” opening a WNOR show for acts from Where the Action Is at Norfolk’s Foreman Field along with lesser known groups like the Wild Kingdom, the Triumphs, the Knights and Kon Tiki and the Rafters.
Poster for show at Boykins Fire House, December 30, 1967
At Boykins Fire House, December 30, 1967

All photos and poster scans courtesy of Diane except the Boykins Fire House poster (sent by Jay Jenkins of SouthernSoul.com), and the Ohef Sholom, Sigota Dance and Light House opening posters, which were sent in by Kelly Miltier. The Ohef Sholom, Sigota Dance and Foreman Field posters are from the collection of Billy ‘Hurricane’ Harrell.

Evan Pierce, Jr. has written a substantial history of the band that I recommend – look for Swinging Machine on Facebook.

The Blue Chords “So Far Away” / “The Mini Movement” on Reverb Records

The Blue Chords
The Blue Chords circa 1960-61 at a TV studio in Bluefield, W. VA.
From left; Steve Epperly (drums), David Epperly (keyboard /tenor sax), John Laughter (tenor & bari sax), Bluefield College student Alfred Thompson (tenor sax) and Roger Bailey (guitar).
John Laughter writes, “Arnold Smith played bass but was unable to make it in time for the photo. He presently performs with The Emeralds.”

The Blue Chords released only one record, “So Far Away”, a very well-played and recorded ballad b/w this cool bit of soul-garage with horns “The Mini Movement. The Reverb Records label of Roanoke released the single as 6745M01, with no writer credit on “So Far Away”.

Steve Epperly wrote “The Mini Movement”, which runs all of 1:28! Since first posting about the band, Steve Epperly wrote to me:

The Blue Chords were from the Bluefield, VA area, and played from 1958 to 1978.

The Blue Chords were especially known in the Virginia Beach-Norfolk area where they played in The Top Hat and other club venues from 1959-1962. The Blue Chords opened for many nationally known artists including but not limited to The Del Vikings, The Gladiolas (later known as Maurice Williams and the Zodiacs), Jerry Lee Lewis, Fats Domino, Ricky Nelson, Art Neville, The Delfonics, Percy Sledge, Bill Deal and the Rhondells, and The Okaysions.

The Blue Chords recorded “So Far Away” and “The Mini Movement” in May, 1967 in the basement recording studio of James E. Parcell who owned Associated Recording Service in Roanoke, VA. The musicians were Arnold Smith who played bass and provided lead vocal on “So Far Away”; Larry Frost and Ron Sagady on horns: Jack McCormick- guitarist; David Epperly -organist, vibes, and saxophone; and Steve Epperly- drums and lead vocalist on “The Mini Movement”. The Blue Chords made other recordings in that studio, but “So Far Away” and “The Mini Movement” were the only ones ever pressed.

The Blue Chords - Steve Epperly, John Laughter, David Epperly, Alford Thompson, Roger Bailey.Missing from photo, Arnold Smith
The Blue Chords, left to right; Steve Epperly (drums but holding a bass), John Laughter (bari sax),
David Epperly (tenor sax), Alford Thompson (tenor sax), Roger Bailey (guitar).
Missing from photo, the late Arnold Smith (electric bass)

John Laughter sent in the great photos of the band seen here. His comment about Blue Chords around 1960 is worth repeating here in the main article:

I was fortunate to have played sax with the “Fabulous Blue Chords” for about two years before moving to Florida. I recall 1959-1960 or maybe it was 1960-1961. We played in various dance halls and frat houses in and around the Bluefield, West Virginia and Virginia area.

But the real good times were spent during the summer months at Virginia Beach in the Top Hat Club. The club had two stages and two bands six nights a week so when we kicked into our break song the other band picked it up to keep the music going. On an hour, off an hour.

The door next to our stage opened onto the boardwalk where a lot of the underage college kids would stand or dance. When the club was packed some of the patrons would dance on the table tops after consuming the 3.2 beer. And those summer night were HOT! We would sweat and play the new hits of the day.

I remember a drummer with one of the guest bands, “T & T” Braggs. What he could do with only a bass, snare, hi-hat and ride cymbal was fantastic! Another band was from Philly. They also brought down the house.

We would visit the local music store on Saturday and pick up the latest 45 rpm’s to learn on Sunday. Then to the Neptune restaurant at the corner for First Street and Atlantic Blvd. for a seafood dinner in the 56 two tone green Ford station wagon with the band’s name on the side.

One of the apartments that we lived in was on the south end of town next to an all night doughnut/coffee house. I would go down and listen to the jukebox until the hours of the morning. And as with several of the other members, we are still rockin’ to this day!

Update 2015: James Shott of the Sinsations writes that Arnold Smith and David Epperly have passed away.

The Top Hat Nightclub, Virginia Beach
Top Hat interior

Top Hat photos taken from the Bill Deal website, now defunct.

Skip and the Creations

Justice Records was a vanity label based in Winston-Salem, North Carolina and run by Calvin Newton. For well under $1,000 a band could record an album’s worth of songs in 4 hours at a local studio, have a few hundred copies pressed with a b&w cover, and then maybe try to recoup their investment by selling copies at their gigs.

Skip and the Creations cut their Justice lp in 1967. They had a fan club based in Colonial Heights, Virginia, outside of Petersburg, According to the caption on the blurry photo on the back cover, band members were Skip, Walter, Brute, Jeffrey, Rick and Tommy. Someone has assiduously marked Jeffrey and Skip on all the photos on my copy, too bad they didn’t include the guys’ last names!

One source says MOBAM stands for “Makers Of Bad-Assed Music” which you may or may not agree with, but there are some fine cuts on this lp. Leading the bunch is what appears to be a band original, “I’m Calling You Baby”. Of the cover songs, my favorite is the lead-off track, “Respectable”, and I like their version of “Harlem Shuffle” almost as much. The band manages to get a good groove going on “Ninety Nine and a Half” after the guitarist’s intro nearly goes MIA.

A good overview of the Justice label is available here.

The Magic Reign

Daniel McNabb submits this, the first record by the Magic Reign from October of 1968.

Vocalist Mike Volk and drummer and keyboard player Bobby Winkler had been in the Manassas, VA band the Chocolate Snowflake, whose members included Charlie Johnson and Rocky Isaac, both of whom were also in the Fallen Angels.

Winkler and Volk moved to Arlington and formed the Magic Reign, with original band members Duke Aires on guitar and Mike Burker on bass. Later additions include Pick Kelly bass, Johnny Peterson drums, Steve Summers lead guitar and Steve Crossan guitar.

Both the moody Mirrors and its flip (an adaption of “Pop Goes the Weasel”), were written by R. Christie and Michael Volk. Production was by Howard Boggess. “Pop Goes the Weasel” starts off well, but the nursery rhyme lyrics and an annoying whistle doom it to novelty status. “Mirrors” is genuinely intense, with a subdued fuzz solo and good production.

They released a second on Jamie, “Jefferson Street” b/w “Charcoal Sketch”, early in ’69. Jefferson Street was named after the street where they lived and is a good late-60’s psychedelic pop number.

Recently Dan met guitarist Duke Aires, when working on Duke’s ’63 Fender Jaguar, which inspired him to contribute this post. Thanks Dan!