Category Archives: Virginia

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.

The Blue Chords, from left: Arnold Smith, Smokey Shott (?), Steve Epperly, Larry Frost and Jack McCormick

Update, January 2026 with three more photos:

My name is Jack McCormick and I go back a ways with the Blue Chords Band. I was the guitar player with the Blue Chords on the Reverb recording we made in a basement recording studio in Roanoke Va. on May 2, 1967. A-side “So Far Away” featuring ARNOLD SMITH vocal AND B-side, “Mini Movement” featuring STEVE EPPERLY vocal. The musicians on this recording are as follows: RON SAGADY (the best I ever knew) tenor sax, LARRY FROST tenor sax, STEVE EPPERLY drums, ARNOLD SMITH (deceased) world class singer and bass player, DAVID EPPERLY (deceased) world class musician vibes/Hammond B3 organ player and respectively JACK MCCORMICK guitar.

Our original mode of travel was a 1952 Caddy hearse. We later expanded and acquired a old Greyhound bus that was customized for band travel.

David Epperly left the “Blue Chords Band” to join a world famous circus in 1967. The band was reorganized/reformed. The musicians were as follows: Arnold Smith lead vocalist / bass, Steve Epperly vocalist / drums (super syncopated “fatback” style), Ron Sagady and Larry “Frosty” Frost on tenor sax, and Jack McCormick guitar. We regularly played several clubs in Roanoke VA, as well as Charleston WV and others in WV, Va, NC AND SC.

I am pleased to say I have played with Arnold since 1965 until his death in 2013 and Ron Sagady thru 2015. Over the years, Arnold and I worked with several bands, namely “WOODEN HORSE”.,”LEGACY” AND “THE EMERALDS” until 2013 (Arnold’s passing). In addition to the above mentioned Blue Chord members, I would like to name John Laughter Sax, Petie Belcher, electric piano, Roger Bailey guitar, Lonnie Woodall guitar, Jim Marino sax, Smokey Shott trumpet, all great musicians that I know, knew and made music with them all.

Jack McCormick

The Blue Chords on stage, from left: Ron Sagady, Larry Frost and Jack McCormick
The Blue Chords on stage, from left: Arnold Smith, Steve Epperly (drums), Ron Sagady, Larry Frost and Jack McCormick

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!

The Proverbial Knee Hi’s “Watch Out”

The Proverbial Knee Hi’s were Charles Smith guitar, Dale Pate electric piano and organ, Butch Powell bass and Eddie Hall drums. They had a vocalist, Willie T., who was out of the band by the time they recorded their only 45.

They group started in 1966, and played the chain of Beachcomber clubs along the east coast which were owned by their manager, Buddy Eisen. They even had a fan club based in New Jersey.

The band went into D’Arcy Sound Studios in Norfolk and recorded two original songs, released on Eisen’s Beachcomber label in the fall of 1967.

“Watchout” is a great upbeat number with some garbled singing. There’s a neat instrumental break before a short recited verse. Eddie Hall really pounds the drums, and I like how Dale Pate moves between Wurlitzer and electric piano.

“Crying For Her” is an epic ballad, really dramatic, but I dig both the intro and the closing moments of the song.

The 45 was produced by Warren Miller and arranged by Wayne Butler. D’Arcy Studio also was where The Regents featuring Mel Gaines recorded their great 45 on M.A.D. “What’cha Gonna Do” / “I Tried With Her”.

The Apollos

The original Apollos band established in early 1964 by Jim Price and Dave Harney.
The Apollos: front and center Wayne Groves, middle row (left-right): Tommy Vorhauer and Jim Price, back row from left: Dave Harney, John Parisi , and Don Harney.
This is the original Apollos band established in early 1964 by Jim Price and Dave Harney.

Apollos Delta 45 That's the BreaksUpdated Jan. 2, 2012

From McLean, Virginia, the Apollos went through several personnel changes while leaving behind demos, live tapes and two 45s as their legacy. I’ve read conflicting accounts of who was in the band when, but with feedback from Jim Price and Tommy Vorhauer, this seems to be correct:

The original band consisted of brothers Dave and Don Harney on guitar, Jim Price on bass, and Dave Elliot on drums. Jan Sylvester soon replaced Elliot on drums was himself replaced by Wayne Groves, and Jon Parisi came in on keyboards. The band’s repertoire leant heavily on surf numbers until they added Tommy Vorhauer on vocals. This is the group in the photo at top.

A win at a local battle of the bands gave them studio time at Edgewood Recording Studio in D.C., and they cut several sides, including early versions of “That’s the Breaks” and “Country Boy”. They re-recorded these two for their own Delta label in 1965.

“Country Boy” is a fine surf instrumental written by Don Harney. Surprisingly it has never been comped before. “That’s the Breaks” has great drumming and nice fluid guitar work with a strong vocal by Vorhauer. I’m not sure who’s playing the organ on this 45.

Tom Vorhauer clarified some points about the band in a comment below that I’ll reproduce here:

Jon Parisi played keyboard and wrote the music for “That’s the Breaks”. I wrote the words and sang lead vocal. I also sang lead vocals on “Target Love” and “It’s a Monster”. We were playing on M street in Washington DC at Mack’s Pipe and Drum and were approached by two gentlemen who were scouts for Paramount Artists. They were interested in signing the Apollos to a record contract but on one condition, they wanted to replace our manager Bill Moser, we refused and never signed.

By late 1966 Vorhauer, Groves and Parisi had left to be replaced by Doug Collins on vocals, Dwight James on keyboards and Wayne Goubilee on drums. Their second 45, “Target Love” b/w “It’s a Monster” on the Montgomery label is a great double-sided 45. I hope to feature it in the future, but it seems to be rarer than the Delta one.

There’s also a live tape of the band, with good versions of “Dirty Water” and “I’m Crying”. At some point they were turned down by MGM, and that seems to be the end of their story.

The Apollos, McLean, Virginia

Apollos Delta 45 Country BoyIn December, 2011 Jim Price contacted me and gave some background on the group:

We were from McLean, Virginia, not Falls Church. Dave, Don and I all lived in Woodside Estates, McLean. That’s where it all started in 1963. I was playing my guitar on our front porch and Dave and Don came wandering up and introduced them selves and said they played as well. I was playing lead guitar, Dave rhythm and Don played bass.We switched up as time went on and everyone found their niche.

We did our demo cut of 4 songs at Edgewood:

1. “That’s The Breaks” words by Tommy Vorhauer and music by the band.
2. “Country Boy” by Don Harney
3. “Dance Dance Dance” (Beach Boys) sung by Wayne Groves
4. “Mr. Lonely”, a remake of the original, sung by Tommy Vorhauer

“Mr. Lonely” was to be our front side of the first 45 but we decided to go with two original songs instead. They were both hits but “Mr. Lonely” would have been a hit as well. It would today.

I created “Delta Music Company” with the help of our agent Bill Moser, thus Delta on the label. We outsourced the art work for the label. Since Edgewood had recorded the songs we contracted through them to have the records pressed and the labels put on them. The records would then be made and sent to us and Bill and I would take them out to the stores and put them on the shelves. In those days you could put your records in stores on consignment. It was all we could do to keep up.

MGM did offer to buy the rights to “That’s The Breaks” but we turned them down. Paramount contacted our agent Bill Mosser three times trying to get us to sign a contract with them but we would lose $ on each record that was sold so we turned them down. Within 3 weeks of the last turndown, our records were not being played on any radio station in the nation. Paramount told Bill that “the boys will be sorry they did;nt sign with them.” The stores even started refusing to slot them any more. “Target Love” and “It’s A Monster” only made it to #10 before it vanished from the airways.

Through this phase the band members were: Don Harney, Dave Harney, Wayne Groves, John Parisi (now John Ian), Jim Price and Tommy Vorhauer. Some time after that John Parisi left the band and we added Dwight James.

The summer of 1966 we recorded “It’s A Monster” and “Target Love” on the Montgomery Label. I can’t remember the name of the studio. Shortly after that Tommy and I left the band and went to Boston to college. Dave and Don Harney continued to run the band with a new drummer who was the singer as well. When I was home on break, I would go and sing with them down in Georgetown, lots of fun.

The band stayed together for a while longer then everyone seemed to go their own way. Tommy is now in Denver, Dave is in Dayton Ohio, Don is in Seattle, Wayne is in Great Falls VA, John Ian DC, Dwight Fairfax VA and I am in Hot Springs, Arkansas.

My oldest son Jason Price does production work in his spare time in the northern VA area – take a look at www.squadcar37.com.

Jim Price

Chaos Incorporated

With a name like Chaos Incorporated, you’d expect sinister psychedelic sounds, but instead what we have here are two exploitative r&b tracks.

“Daktari Ooo-Ah” is in the tradition of Kip Tyler’s “Jungle Hop” and other jungle and monkey records. On the flip is “Spanish Cooking”, a take off on another genre: soul food records.

“Spanish Cooking” was writen by Frank Guida and Gary Anderson aka Gary “U.S.” Bonds. The way the band plays, it sounds like it could be a throwaway from one of Bonds’ sessions.

Guida was the man behind the S.P.Q.R. and LeGrand labels. He recorded some fantastic music by the Swinging Machine and Lenis Guess around this time that I recommend over this one. Frank Guida passed away on May 19 of 2007, just a week shy of his 85th birthday.Thank you to Marty for the 45.

The Flys

The Third Row, featuring members of the Flys
After the Flys: the Third Row. From left: Gary (surname? – original drummer), Tom Smith, Steve Widmeyer, Bill Lyons, Dave Reemsnyder, and Don Ransom

Flys Myskatonic 45 Reality Composition #1The Flys:

Steve Widmeyer – lead vocals, rhythm & lead guitar
Dave Reemsnyder – bass
Bill Lyons – keyboard, vocals
Randy Dunham – guitar, vocals
Jim (surname ?) – drums

The Flys were students at West Virginia Wesleyan College in Buckhannon, close to the Ohio border. I had no information about the band until Steve Widmeyer left a comment (see below).

In 1966 they traveled over 200 miles to McLean, VA, near Washington DC, where they settled for the summer and cut their two 45s for Myskatonic, perhaps their own label.

Flys Myskatonic 45 Be What You IsTheir first 45 is “Reality Composition #1”, written by John Elvin and Stephen Widmeyer, backed by a fine version of the Stones’ “Got to Get Away” and released with a green label.

Then came the fantastic “Be What You Is”, one of Mort Shuman’s more obscure songwriting efforts. Shuman co-wrote it with occasional collaborator Leslie MacFarland (J. Leslie McFarland, who also co-wrote “Stuck On You” for Elvis with Aaron Schroeder). An anonymous commenter below (“The Fly”) says the band outbid the Rascals for the right to record the song.

On the flip is “The Way Things Are”, an original by Steve Widmeyer. I’ve seen both white and orange labels for this one. The records are credited as F.G.I. (Four Guys) Productions.

The band evolved into the Third Row – that band’s drummer Thomas Smith has sent the photo of that band seen above. Steve Widmeyer, Bill Lyons and Dave Reemsnyder remained from the Flys, the others were new members.

Thank you to Tom for the photo.

Flys Myskatonic 45 The Way Things Are

Link Wray

Link Wray Cadence 45 RumbleLink Wray Epic 45 Raw-HideLink Wray Okeh 45 Rumble MamboBunker Hill Mala 45 Hide & Go Seek, Part ILink Wray Swan 45 Run Chicken RunLink Wray and His Ray Men Swan 45 The Black Widow
Link Wray Epic PS Slinky
Link Wray photoLink Wray passed away earlier this month and word is only now getting out. As I look at it, garage has two main sources: Bo Diddley and Link Wray. Without them it probably wouldn’t exist.

I feel lucky to have seen Link in April in New Orleans. He didn’t shortchange us on the distortion or feedback that night – it was fantastically loud and chaotic.

Link Wray and the Raymen Swan 45 Hidden CharmsRay Men Diamond 45 Walkin' Down the Street Called Love
Link Wray Heavy 45 Blow Your MindLink Wray and the Ray-Men Mr. G 45 Mind Blower

Dennis and the Times

Denis and the Times 1967
Dennis and the Times 1967

Dennis and the Times of Norfolk, Virginia were three brothers on guitars and vocals, along with a couple friends playing bass and drums. The Burlage brothers’ father helped them record and release two 45s on the Trend label.

Denis Burlage – vocals
Guy Burlage – lead guitar
Dean Burlage – rhythm guitar
Skip Watts – bass
Paris Aiken – drums

The first from November of 1967 included their psychedelic masterpiece “Flight Patterns”. The song was certainly inspired by “Eight Miles High”, though I also hear some of “Have You Seen Her Face” in it as well.

The flip, “Just If She’s There” also owes a debt to the Byrds.

They found a harder sound for their second single, “Denis Dupree From Danville”, from 1969, released as Denis & the Times with only one ‘n’ in Denis. The b-side is a good ballad, “Whenever You Want Me”.

Denis and the Times
Denis and the Times

James Mrdutt sent in the photos of drummer Paris Aiken seen here, and other photos of Paris with an earlier group, the Mustangs, that I’ve posted to a separate page here. James reported that Paris passed away on December 24, 2009. He also informed me that Paris Aiken played drums on the recording of Billy Joe Royal’s “Down in the Boondocks”.

Jim McGuinn with Paris Aiken
Jim McGuinn with Paris Aiken backstage