Category Archives: Label

The Bobbies “(She) Put Me Down” and the In on Sonny Records

Bobbies Sonny 45 She Put Me Down Part 1The Bobbies came from Florence, Alabama, cutting this one fine single, “(She) Put Me Down” parts 1 and 2 in June, 1966. Members included:

Bobby Heathcoat – lead vocals (Bobby Heathcote ?)
Richard Hahn – organ
Glenn Hall – bass

– but I don’t know the other names of the group. Scans of an autographed 45 include these names:

Duck Hempil or Henpil?
Randy Wills
“Angel”

Sonny Limbo (real name Robert Limbaugh, I believe) was a DJ at WAAY in Huntsville, Alabama, about 72 miles east of Florence. I am not sure how he found the Bobbies, but Sonny had been hipped to local Huntsville group the In. The In recorded a demo of “Just Give Me Time” at Bobby Land’s studio in Huntsville and asked Sonny to produce a finished version. Sonny brought both groups, the In and the Bobbies to Sonic Recording in Memphis to share a four hour session.

Autographed copy of the Bobbies 45, courtesy of Brandi Garrison.

The bands, who did not know each other before, became friendly and helped out on each other’s session. The Bobbies and their friends contributed to the crowd noise on the In’s version of “Midnight Hour”, plus Bobby Heathcoat contributed backing howls and Richard Hahn played organ on the song. Eddie Burton of the In added some lead guitar to the Bobbies recording.

The In’s session would lead to a national release on Hickory of “Just Give Me Time” / “In the Midnight Hour”. In an interesting twist on the usual sequence of local-to-national release, Hickory dropped the group (supposedly because their session was non-union), and Limbo released the songs locally on his own label, pairing “‘Live’ in the Midnight Hour” with “You’re So Fine” for Sonny 45-1002, and “Just Give Me Time” with Eddie Burton’s original “You’re Not Gonna Live Forever” for Sonny 45-1004.

Limbo released the Bobbies single on Sonny Records 45-1001. I’m not sure what songs the Bobbies planned on recording when they went into the session, but Sonic Recording owner Roland Janes gets writing credit for “(She) Put Me Down”.

Bobbies She Put Me Down Cash Box July 30, 1966I expect there is a Sonny 45-1003 out there but if so, I haven’t seen it.

The A-side of the Bobbies received a B+ in the July 30, 1966 issue of Cash Box.

Richard Hahn would go on to join the In.

In Wessex Combo Decatur Daily April 28, 1965
The Wessex Combo (before the “In”), from the Decatur Daily April 28, 1965

I couldn’t find any news clippings for the Bobbies, but did turn up this interesting mention of an early version of the In, calling themselves the Wessex Combo for the 14th birthday party of Miss Jeannie Sharpe, the band featuring Bill Peck, George Vail, Chet Nolette, Eddie Burton and Fred Sanders. It was published in the Decatur Daily (Decatur Alabama that is), on April 28, 1965.

By the time of their Memphis recordings, Chet Nolette was out of the group and the In consisted of Bobbie Land – lead and backing vocals and organ, Eddie Burton – lead and backing vocals and lead guitar, Bill Peck – lead and backing vocals and rhythm guitar, Fred Sanders – lead and backing vocals and bass, and George Vail – drums. Later on Jackie Tiller of the Rocks would play bass for the group.

Anyone have a good photo of either group?

Info for this article comes from Jeff Jarema’s interviews with Eddie Burton of the In on the Sundazed and 60sgaragebands.com sites, both now defunct.

Bobbies Sonny 45 She Put Me DownPart2

The Dominoes “My Love for You” on JCP Records

Dominoes JCP 45 My Love For You

This is an early, relatively unknown single on Jimmy Capps’ JCP Records label 1016. There’s nothing ‘garage’ about it.

“My Love for You” is a latin-styled pop song with male harmony vocals, and a female recitation in Spanish. Tonie Krakora wrote the song, published by Aimee Music Co. which handled many JCP releases, so I believe this was an original song, not a cover.

“Ram-Bunk-Shush” is a good instrumental, probably learned from Bill Doggett’s version.

Distributed by Sound of Nashville, SoN 17061/2.

I haven’t been able to find anything about the group or Tonie Krakora.

Dominoes JCP 45 Ram-Bunk-Shush

Little John and the Monks – “Woman Take a Trip” / “All Them Lies”

Little John and the Monks Graves 45 acetate Woman Take a Trip

Little John and the Monks came out of Klamath Falls, Oregon. Tom Davis, a singer from Scotland, founded the group as the Nomads and changed it to Little John and the Monks when they went to Eugene. The membership changed frequently in the few years the band lasted.

Members included:

Lloyd Barnhurst – ?
Tom Davis – vocals
Luis Weathers – bass guitar
Davy Jones – saxophone
Clark Lynch – drums
Stan Brawn – lead guitar
Bob DiMartino – keyboards
Larry Harding – lead guitar
Dennis Baldwin – ?
Lee Wilson – bass
Bob Martin – drums

In late 1965 the group cut Tom Davis’ original song “Black Winds” backed with a cover of “Needles and Pins” on Jerden 775. Many years later, an unreleased song, “Too Many People” appeared on Big Beat’s Northwest Battle of the Bands Volume 3 showing a tougher sound for the group.

Little John and the Monks Graves 45 acetate All Them Lies
Little John and the Monks Graves 45 acetate All Them Lies
In August 2020, an ebay auction featured a demo lacquer (acetate) by Little John & the Monks with two original songs recorded at Graves Recording Service in Eugene. “Woman Take a Trip” continues in the heavier northwest sound, and extends it with a frenzied rave-up of squealing sax, sustained guitar notes and sliding bass notes. The bass line drives the flip, “All Them Lies” with cool unison accents by guitar and sax and some bluesy organ.

Tork Publishing, perhaps meant for release on Tork, which did release the Moguls ‎– “Round Randy” / “Another Day”.

Anyone have good photos of the group? I’d also like to know who played on what recordings.

Carol Chakarian “Put Your Accent on Love” on Nashville

Carol Chakarian Nashville 45 Put Your Accent On Love

Carol Chakarian lets loose with a great vocal on “Put Your Accent on Love”. Not ‘garage’ music, but a pop song in a country style. Hear an excerpt.

The flip is the more sedate “Lost in This World of Love”, both songs written by Phil DeWolf, publishing by Tronic BMI. Released in 1965 on Nashville 5242, “A Tommy Hill Starday Studio Production”.

I can’t find any info on Chakarian or DeWolf.

The Little Indians on Chanté Records

Little Indians Chanté 45 Wait A Minute

Here’s an obscure one, the Little Indians doing two original songs, “No” / “Wait a Minute”. It may also be the first release on Chanté Records, as it is release 101 and has master numbers CH-1 and CH-2.

Richard D. Tellier and Edward Martin composed both songs, and registered copyright in March 1965. They have other copyrights that may have not been recorded, “Blind Date”, “Life Was So Lonesome” and “Anymore”.

Tellier and Martin registered “Wait a Minute” and “Blind Date” in 1964 with © Sigma Seven Productions, Inc., but that production credit is dropped for the ’65 copyright and the Chanté release. Sigma Seven Productions turns up on singles by the Irridescents on Fleetwood, and the Fabulaires on Chelsea, among others.

Chanté Records labels usually have a Lou Alfieri production credit, but this one reads “A Pabodi Production”. Alfieri Music and Eastwick Music published both songs. A trademark application from 1965 lists a West Moorestown, New Jersey address, not far from Philadelphia.

Anyone have more information on the Little Indians or these song writers?

I do not believe this was the same Richard Tellier who played guitar with a Canadian group called Octopus.

Little Indians Chanté 45 No

The Federal Fugitives “Woman of Stone”

Federal Fugitives Youmer 45 Woman Of StoneThe Federal Fugitives were unknown to me until Rick Ledbetter commented below with the lineup:

Rick Ledbetter – lead guitar
Steve Allen – rhythm guitar
Dennis Mitchell – bass
Gary Stone – drums
Johnny Stovall – horns
Steve Allen – horns

“Woman of Stone” is a good light-psychedelic original by Ledbetter and Stone. Jim Youmans (of the Swingin’ Apollos) did a fine job of production.

The musicians are accomplished, I wonder if the Federal Fugitives is a pseudonym for another group.

Ledbetter and Stone also wrote the harmony-filled ballad flip, “Just Remember”.

Released on Youmer Records Incorporated, YM 1002 with an address of 524 Plasters Ave, in Atlanta. Youmer’s first release was the Sons of Bach, “Stubborn Kind of Fellow” / “I Knew I’d Want You”, which I haven’t heard. Youmans produced this one too. Without original songs, there’s even less chance of finding out who played on that record.

Both songs published by Margie Music BMI, which was based in Decatur, but I can’t find registrations for either.

Rick told me more about the members of the Federal Fugitives:

Gary Stone went on to play with Billy Joe Royal.

Dennis Mitchell played with Ben Dover and Tennessee Tucker and also appeared in Six Pack with Kenny Rogers.

Rick Ledbetter went into radio broadcasting (Rick Ledbetter On Air on youtube).

Steve Allen performs as a one man band.

Johnny and Ted Stovall also played horns with The Soul Patrol around Atlanta after Rick formed the new group after two years in the Army.

Ted Stovall went on to arrange the horns on Lynyrd Skynyrd’s “What’s Your Name” and “Moonlight Feels Right” by Starbuck.

The Incidentals with Bill Ervin on Ford Records

Incidentals Ford 45 All Night

I cannot find much information on the Incidentals, who were primarily an instrumental band. They released three singles on the Ford Records label out of New York.

The first is the excellent “All Night”, a band original, backed with a version of the Ventures “Driving Guitars” (including drum solo), on Ford Records 134. Cash Box reviewed the single in October, 1964, giving the sides B+ and B grades. These instrumentals are primarily guitar-driven melodies, but the group did have a pianist. The entire band plays very well.

Rest-A-While Music Company (ASCAP) published “All Night”. Rest-a-While Music appears on other Ford and Merry-Go-Round releases, including Ford 117, The Gallant Men’s “Lost Romance” by Foti and O’Donnell, and Dolores Rodell “Go For Broke” written by Vin Roddie, on Ford 132. The company had a New York City address.

Incidentals 1st single reviewed in Cash Box, October 10, 1964

Incidentals Ford 45 Driving GuitarsI haven’t heard or seen their second single as the Incidentals, two more instrumentals, “Fireside” / “Lucille” on Ford 138. Cash Box reviewed it in January 1965, awarding the same B+/B grades as their first single.

A third 45 “Walkin’ the Dog” / “If You Go” on Ford 143 is credited to Bill Ervin & the Incidentals. The Library of Congress has a May 1965 registration for “If You Go” written by William Ervin, published by Merry-Go-Round Melody Co. I’d like to hear these, and would like to know if Bill Ervin was an added vocalist or if he played an instrument on the earlier records.

Billboard listed Sherman Ford Jr as the Incidentals personal manager, he was also president of Ford Records and Merry-Go-Round.

This Incidentals almost certainly was not the group from Ocala, Florida with a single on Paris Tower “baby I Want You Back Again” / “It’s All in Your Mind”. Members of that Incidentals were Ed Barnett, vocals; John Winter on guitar; Steve Fordyce on bass; Tony Cummings and Biff Ruff on organ; and Mike Barnett on drums.

Nor were they the group who cut “Baby Shake” / “Till the Ending of Time” on Gold Standard.

The Motleys on Valiant “You” / “My Race Is Run”

The Motleys were an actual band, though the lineup I see online is partly incorrect. Harvey Price (now known as Mike Price) and Mitch Bottler formed the group at Fairfax High School. It seems Mitch Bottler became more of a behind-the-scenes song writer with the group as it settled into the lineup for its two singles on Valiant:

Mike Price – guitar and vocals
Dan Walsh – lead guitar and vocals
Steve Adler – bass and vocals
Bob Carefield – drums

Dan Walsh’s brother John Walsh produced some demos at Gold Star that have not been released, but the Valiant contract came from an audition for Bodie Chandler, Barry DeVorzon and Don & Dick Addrisi.

Motleys Cash Box Oct. 30, 1965
Cash Box, October 30, 1965
Motleys Billboard Oct. 30, 1965
Billboard Oct. 30, 1965

Bodie Chandler and Edward McKendry wrote the top side of their first Valiant single, “I’ll See Your Light”, arranged by P. Botkin, Jr.

Bodie Chandler and Barry DeVorzon wrote the rockin’ flip, “Louisiana”.

Billboard and Cash box reviewed the single, with Cash Box labeling it as “Newcomer Pick”, saying “Deejays should come out in droves”. That didn’t happen, and in retrospect I wonder if “Louisiana” may have been the more commercial side. The group did appear on 9th Street West to promote the single.


Motleys Valiant 45 YouMitchell Bottler and Michael Price wrote both sides of their second single, released on Valiant Records V-739 in February, 1966.

“You” is very different from their first single, more complex but also more pop, and with piano the lead instrument. “My Race Is Run” features the group’s harmonies.

Sherman-DeVorzon Music published “You” and “My Race Is Run”. I found a February 1966 copyright registration for a song that may have never been released, “Rain on Down the Line” with words by Harvey Price and Jack Herschorn and music by Mitch Bottler.


Motleys Cash Box March 26, 1966
Cash Box, March 26, 1966
Despite a “B+” in Cash Box in March, there was no chart action and when Valiant dropped them, the group broke up.

Valiant kept Mike Price and Mitch Bottler signed as song writers, and they added Dan Walsh to their team when he brought them a song “Carnival of Life” (the demo for which seems lost unfortunately).

At this point, they met producer Gary Zekley who asked them to wrote songs for the Looking Glass and the Visions. Rev-Ola’s Temptation Eyes: The Price & Walsh Songbook lists the top session musicians who played on their demos, like Hal Blaine, Bodie Chandler and Carol Kaye. I suspect these musicians also played on the Motleys singles.

Price and Walsh started work on an album with Zekley (with Mitch Bottler assisting in the song writing) that was never completed. Price and Walsh went on to much success as a song-writing team, while Mitch Bottler continued to work with Zekley for a time.

Zekley was not in the Motleys, despite repeated incorrect statements on the internet.

I asked Mike Price about “Rain on Down the Line” and he responded:

I don’t recall cutting a demo on “Rain”. We probably played it for Barry Devorzon, who was the head man at Valiant Records, and they had someone do a lead sheet and then copyright it. That song was inspired by a great, early folk rock band called the Rising Sons. We went to see them at a folk club in West Hollywood called the Ash Grove, and they blew us away. So, we ran home and did our version of what we heard.

Dan Walsh and I were staff writers at ABC Dunhill records for eight years beginning in 1969. We wrote a couple of tunes aimed at Steppenwolf when Gabriel Mekler was producing them. One was never completed, and the other, a song called “Mojaleskey Ridge” ended up being cut by a group called Smith.

We did our demos in studio A at ABC / Dunhill recording complex, Steely Dan recorded down the hall in studio B. They took so long recording that their drummer Jimmy Hodder and guitarist Jeff “Skunk” Baxter would wander down the hall and sit in with us. So, we had some songs with half of Steely on them.

Dunhill was such a hot label, it was an amazing place for two 21 year old songwriters to be.

Rev-Ola’s Temptation Eyes: The Price & Walsh Songbook has a photo of the Motleys. Steve Stanley’s extensive liner notes to that CD was the main source for this article.

Unit VI “About That Time” on Trump Records

Unit VI Trump 45 About That Time

Unit VI is an unknown group, possibly from the Louisville, Kentucky area, but also possibly from southern Indiana.

“About that Time” is a good garage original, danceable but relaxed. “Mother May I” has a chunky rhythm. R. Bundy and A. Stultz wrote both songs.

I’ve searched for info on the group but have no leads yet.

The publishing of both songs is Brownsboro Music SESAC, unusual for Trump singles, which usually have Falls Music publishing.

The Precision Record Pressing codes of PRP-211/2 date this to early or mid 1967.

Unit VI Trump 45 Mother May I

The Rel-Yea’s

Rel Yeas Kerrville Daily Times April 15, 1964
The Rel Yea’s on stage live at the Arcadia Theatre, in Kerrville, April 17, 1964
The Rel-Yea’s came from San Antonio, Texas. Members included:

Jimmie Bolado – guitar
Zeke Green – guitar
Jim Bisset – bass, sax
Mickey Drumm – drums (also Eddie Guererro – drums)

Jim Frizzell also was a member on guitar and keyboards before he joined the Chayns.

The Rel-Yea’s were young kids when they recorded their first two 45s on Wildcat Records in 1960.

Their second Wildcat single credits the band as “The Relyea’s From ‘The Ricci Ware Show’. Ricci Ware was a popular San Antonio DJ. Johnny Ware played sax with the group at times, I’m not sure if he was related to Ricci Ware. “Round Rock Boogie” includes someone named Ware as co-composer, but the Library of Congress registration only lists Zeke Green.

Rel-Yea's Kaye 45 The Rugged RockBeginning in 1963 the Rel-Yea’s released three singles on Kaye Records, which seems to have been their own label, located at 327 Shropshire Drive in San Antonio. The first of these is a fast instrumental by the band, “The Rugged Rock” b/w a version of “Good, Good Lovin'”.

“You Know How” is the second of their Kaye Records singles. Jim Bissett and Jimmie Bolado sang lead vocals.

Rel Yea's Kaye 45 You Know HowI found a notice for the Rel-Yea’s playing at the Arcadia Theatre in Kerrville on April 17, 1964. Bruce Hathaway, DJ at KTSA in San Antonio is also on the notice. The Arcardia was the primary movie theater in Kerrville, but this is the only live band notice I’ve found so far. The former Rialto Theatre hosted a number of live events in 1967.

A full discography for the Rel-Yea’s is at Rockin’ Country Style, and you can see a few photos of the group at Mean Gene’s Bull Session blog. Jimmie Bolado’s Facebook page has a number of photos of the group, including many with famous country & pop stars of the day, including George Jones and Roy Orbison.

I’d like to know more about the group. The Rel-Yea’s continued into the mid and late ’60s but the recordings stopped around 1964.