Category Archives: Label

Categories: California, Hiback, Los Angeles, Nevada, Reno

The Aquamen of “Line and Track”

October 21, 2019 Chris Bishop 8 Comments

The Aquamen’s second single “Line and Track” has become a top retro DJ spin, especially in the UK’s northern soul scene. The enthusiasm of garage collectors for the single led to its inclusion in Teen Beat Mayhem with a good rating. Some consider it more of a novelty, but the beat is solid, the repetitive bass line catchy, and the rhythm guitar has a James Brown-like quality.

Although it’s been more than 50 years since its release, I was surprised to find almost no published information on the group. Last month I bought a collection of photos & promotional materials (thank you Mike D.) which are the main sources for this article.

Aquamen as a trio by the ocean — The Aquamen as a trio. If the instruments match the bio, from left: Frank Church, Dave Walker and Tom Karnes.

A promotional biography of the group from about mid-1966 has this info:

Heading THE AQUAMEN roster is Frank Church, lead guitarist and tenor singer, who does most of the musical arrangements for the group. Frank’s guitar solos always generate a hum of excitement.”
Lead singer Dave Walker, who shares the emcee spot, plays rhythm guitar and usually spices each show with a rousing banjo number…
Funnyman Tom Karnes, who consistently breaks up crows with his zany characterizations, doubles on bass, piano, and sings baritone harmony.
Mike Walch, the young “old pro” of twelve “Dennis the Menace” movies, plays piano, trumpet, guitar and other assorted noisemakers. Mike’s lyric tenor voice adds a unique quality to the group sound.
Al Breaux, the little dynamo on drums, formerly appeared with Louis Prima and Jerry Lee Lewis.
THE AQUAMEN have been together for three years and have performed in clubs throughout the country including the Holiday in Reno, Beachboy in San Diego, Carriage House in Burbank, Bahama Inn in Pasadena, Sunset Lanes in Kalamazoo, Maison Jaussaud in Bakersfield, and others. The group has appeared on ABC-TV’s “Territory Underwater” and currently can be seen in Paramount’s “Beach Ball” and “The Girl in Daddy’s Bikini.” They have recorded “RIDE A PALE HORSE” and “LITTLE GRANNY WILSON”, soon to be followed by an LP.
Personal Management:
Joseph H. Friedman

The movie credits in the biography seem to be an exaggeration or outright invention.

Beach Ball features the Supremes, the Four Seasons, the Righteous Brothers, the Hondells, the Walker Brothers and the Nashville Teens. The Girl in Daddy’s Bikini was the original title for It’s a Bikini World, which has the Animals, the Gentrys, the Castaways, the Toys, and Pat and Lolly Vegas.

I haven’t seen either movie in its entirety but I can’t find any credit for the Aquamen or their members in the full cast lists for either film. Perhaps the Aquamen’s performances didn’t make it to the final cuts. Also, I don’t see Mike Walch’s name appear in the credits of the Dennis the Menace TV series.

Aquamen Todd Miller promop hoto — Aquamen as a quintet, Todd Miller agency photo

Aquamen at R.F. Presents poster — The “R.F.” on 2116 Westwood Blvd presents the Aquamen “just back from tour … New York … Palm Beach, Jamaica and Hawaii”

In March of 1965, Frank Church and David Walker registered a number of songs with the Library of Congress. These include “Aquaman (Aquamen)”, “Big Rock Codley”, “Blue Coral”, “Godzilla”, “Skindiving Man”, “Superman” and “Younger Younger” (with Frank Karnes). Frank Church has a solo composition “The Beachcomber” registered in January 1965, with publishing by Milamco Music. I suppose the group cut demos on some of these songs, I have to wonder if any recordings still exist.

I was pleasantly surprised by “Ride a Pale Horse”, the A-side of the Aquamen’s first single. “Ride a Pale Horse” is a melancholy song with baroque harmonies over a mild folk-rock backing. Record World reported “Ride a Pale Horse” reaching the top 10 in Columbus, Ohio on August 13, 1966. Rod McKuen wrote the lyrics.

Aquamen Cash Box May 29, 1966 — Cash Box May 29, 1966

The flip is a novelty number about hot-rodding “Grannie Wilson”, writing credited to the Aquamen with publishing by Water, BMI.

Released on Spring Records 333 with distribution by Atlantic. Jack Hayes Productions was based in San Francisco. Notices in all the trades date this single to May of 1966.

“Line and Track” followed in October 1966. The label notes “Line and Track” adapted and arranged by Church, Walker, Karnes and Walch, published by Hinrich Music Company, and “A Corby Production”.

The Aquamen’s version appropriates Fred Neil’s arrangement titled “Linin’ Track”, as it appears on a Les Baxter’s Balladeers single on Link Records from 1963 (with David Crosby contributing vocals). The Balladeers version also appears on the album Jack Linkletter Presents A Folk Festival that includes the Yachtsmen who would become the What’s Four (covered on this site). Fred Neil recorded his own versions of “Linin’ Track”, first on Hootenanny – Live At The Bitter End, and then with Vince Martin on Tear Down The Walls. The song seems to come from Leadbelly, but with very different lyrics. If there are other sources for Fred Neil’s version of the song, I’d like to know about them.

The B-side is a version of “Tomorrow Is a Long Time”. “Line and Track” received a B+ in the October 29, 1966 issue of Cashbox. Release was on Hiback HB-109 and again in December on Hinrich Music Company H-33/H-34.

The Library of Congress shows another Aquamen registration in October 1966: “Acid Test” by Walker, Karnes, Walch and Church. I’d like to hear that song!

The group continued at least into the summer of 1967. The Reno Gazette-Journal from Reno, Nevada published two entertainment notices on the group. The first from December 24, 1966 repeated much of the info in the promotional bio. The second notice comes from July 8, 1967.

I don’t know when the group disbanded. Mike Walch is credited with percussion, vocals and piano on an ABC album by The Phoenix in 1969, I’m not sure if this is the same person. The other members seem to have disappeared from the entertainment industry.

Aquamen and Lee Elliot at the Duke of York poster — Aquamen and Lee Elliot at the Duke of York, 200-206 Marine Ave, Manhattan Beach

Aquamen Warehouse IX postcard — Postcard for the Warehouse IX at 2214 Stoner Avenue in West Los Angeles

The Warehouse IX was located at 2214 Stoner Avenue in West Los Angeles.

According to Bruno Ceriotti’s site on the Sons of Adam, the Fender IV played at the Warehouse IX regularly just before changing their name to the Sons of Adam. At least one ad for the club appeared in KRLA Beat.

The building appears to still be standing today, from the street view image below.

2214 Stoner Avenue, Los Angeles, formerly the Warehouse IX

Categories: Continental Recordings, Framingham MA, Cori, Croydon, Haverhill, Massachusetts

The Royals on Cori and Croydon labels

September 26, 2019 Chris Bishop 3 Comments

The Royals, from left to right: Dennis Villanucci, Jim Hideriotis, Joe Villanucci, Rick Krikorian and Robert Krikorian

Dennis Villanucci wrote to me about the Royals who had three singles in the mid-1960s:

This band was formed in Haverhill, Massachusetts during the mid/late 1950s. The original band members were Jim Hideriotis (drums), Rick Krikorian (guitar) Dick Gaiero (guitar), Ted Schiavoni (guitar), Bob Schiavoni (bass) and Joe Villanucci (keyboards).
Around 1961 or so, Dick & Bob left the band, and I (Dennis Villanucci, Joe’s brother) joined as their bass player. Rick’s twin brother (Robert) also joined shortly thereafter as a singer and also played tambourine. Later on I became their lead guitarist. The band card shown was made after Bob had left the band.
Lowell State Lounge poster, May 22, 1965
While the members of the Royals were attending college, we appeared at many fraternity houses and college concert venues (college dance mixers) on campuses throughout New England (mostly in Massachusetts, New Hampshire & Vermont locations). Typical venues were Lowell State College (MA), UNH (Durham NH), Dartmouth College, University of Vermont etc.
We had an agent by the name of Al Long. He handled about 25 bands from the New England area.
We were friends with a few of the bands shown on Al’s list … The Roadrunners (Mike Fedenyszen et. al.) and the Heard (Chuck Buzzell, Eric Mcfadden, Bob Fontaine and Mike Moustafa).
Another band that we were friends with (not on the list) was called Lazy Smoke. John Pollano was their leader. My brother Joe played keyboard on “Sarah Saturday”.
A “rival” band was the Del Phi’s.
While playing a fraternity house for Lowell technological institute, we met a fraternity member who, along with his friend, had a recording studio in Framingham Massachusetts. We accepted a one year recording contract that was offered to us at no cost to us.
The band made three 45 rpm recordings at Continental Recordings Inc. (CORI) in Framingham, Massachusetts. The first recording “The Lady’s Bad” / “I’m All Alone” bears the CORI label and was made in June 1965.
The other two were under the Croydon label; “Summertime in Maine” / “Teenage Dreamer” and “Slow Down Boy” / “Summertime in Maine”.
While recording our music during that year, we were connected with Gene Kilham. Gene presented his music to us, and we agreed to record for him.
1st label for this song, June 1966
June 1967 release
Towards the end of the 1960s we began playing regularly at local night clubs: The Cinnamon Lounge (Lowell), Three Copper Men (Lowell), The Bowery (Salisbury Beach MA) and many others.
When we appeared at the Bowery, the band had added a horn section, (Ralph Bennett – sax, Rick Hammett trumpet and Jerry Bergonzi – tenor sax). We also added a front man, Johnny C (John Colimere). We played eight (4 or 5-hour) shows a week for about 6 weeks during the summer of 1969.
The band broke up around 1970. Joe and Robert are still active in the music industry.
Q. I notice the writing credits on “Teenage Dreamer” read Leo Krikorian and Gene Kilham, and Gene is also sole writer for “Summertime in Maine”. I believe Gene owned the Croydon label. Was Leo another name for your brother?
Leo Krikorian was not related to the two Krikorian brothers that were with the Royals (Rick & Robert). It is just a coincidence that he has the same last name. Leo & Gene wrote “Teenage Dreamer” and Leo played lead guitar on the recording.

Royals Billboard, June 15, 1966 — June 15, 1966 issue of Billboard

Two notices for “Summertime in Maine” appeared in Billboard, in June and August 1966.

Royals discography:

June 1965: “I’m All Alone” / “The Lady’s Bad”, both by Krikorian – Villanucci, Hyannis Music Co., released on Cori Records CR 31002.

June, 1966: “Summertime in Maine” (Gene Kilham) / “Teenage Dreamer” (Leo Krikorian and Gene Kilham), both Chriskil Music Publ. Co., ASCAP, released on Croydon ZTSP 122492/3, a Columbia custom pressing, probably from their Rockaway plant.

May, 1967: “Summertime in Maine” (Gene Kilham) / “Slow Down, Boy” (Robert Krikorian and Joe Villanucci), released on Croydon U4KM-6776/7, an RCA custom pressing probably from their Pittman, New Jersey plant.

Chriskil Music Publ. Co., ASCAP published all three songs on the Croydon singles, named for the company’s street address.

Kilham has written and produced a single by Barry Wilson & the Camelots “The Bug” / “Gonna Put You Down” Dot 45-16462, both by B. Wilson and Gene Kilham, that received notice in Billboard in September 1963.

Al Long agency booking list – any info on the bands listed here would be appreciated:

Name Groups:
The Harlem Playboys (with Randy Madison)
The King Cobras – “Maine’s No. 1 band”
The Nickel Bag of Soul (“New Hampshire’s best)
The Catharsis
The Embers
John Tropea and the Spendors (“Boston’s great band”)
Girl Groups:
The Fabulous Frauleins ‎(recorded “Practice Of Evil” / “Days Gone By” on Onyx 8601)
The Ever Lovin’s
What’s this Madness
Popular Groups:
The Given Word
The Crescendos
The Royals
The Tel-stars
The Avengers
The Blue Cloud
The Jinx
The Del Phi’s
The Roadrunners
The Deltas
Annie and the Orphans (from the Lakes region)
The Heard
Underground Conspiracy
Gray Shade of Blue

Categories: Not garage, Top-Notch, Unknown

The Highlights / Carroll & London on Top-Notch

September 23, 2019 Chris Bishop 1 Comment

This single on Top-Notch is an excellent 1966 release by two different soul groups.

One side has the Highlights doing a great up-tempo number with swirling organ, “Orbit”, featuring a lead vocal backed by harmonies. The flip is credited to Carroll & London with a different harmony style altogether.

I’m posting as it is currently almost unknown and has some intriguing credits.

Joann Longenberger wrote both songs, published by Knorr Music Pub. and Oasis Music. Released as Top-Notch IMK-2, it has a Columbia pressing code of ZTSP-12677/8.

Top-Notch had at least two other singles. The first may be Herb and His Cronies with “The Phantom” / “In the Middle of a Love”. It was released on Personality A-700 in July of 1966, with an IMK Productions credit that links it to the Top-Notch singles. 45cat lists this same single as being released on Top Notch 700, however I cannot find a scan of that to confirm – anyone have one?

The other two singles that definitely had release on Top-Notch were IMK-1, J. Salvemini’s “La Salles” doing “Why Oh Why” / “Wanarupu” (both have words by Ernest Barlbeault, and music by Joseph Salvemini); and IMK-3, an artist named Coye doing “Hop Scotch” / “Sweet I Know” (both by C. Boatner).

All were registered with the Library of Congress on August 29, 1966, with the Coye songs listed as words by Mary Boatner and music by Coye Boatner. The pressing code on the Cove is ZTSP 122680, which shows these were sent together to be mastered and pressed in one batch.

I presume a New York location for Top-Notch but I don’t have any definite proof of that. There was a Coye Boatner living in the Bronx in the early 1970s, but also indications Coye and Mary Boatner lived in Louisiana at some point.

Categories: Scepter, South Africa

Impulse

September 9, 2019 Nick Warburton 1 Comment

Watermelon Man MP3, thanks to Tertius Louw for sharing the recording.

John E Sharpe (guitar/vocals)

Les Goode (bass)

Nic Martens (Hammond organ)

John Elliott (sax)

Albert Rossi (drums)

This fascinating, yet short-lived, South African group recorded a hopelessly rare 45 for the US Scepter label in 1968, which was produced by Billy Forrest and distributed in South Africa by Troubadour Records.

The musicians collectively had an impressive history.

Guitarist John E Sharpe had previously played with The Deans (where he met Les Goode) and then worked with The G-Men before fronting his own group, John E Sharpe & The Squires (who also included Goode at one point).

Goode meanwhile had started out with Les Beats and then The Nitwits before joining forces with Sharpe in The Deans and subsequently John E Sharpe & The Squires. After working with The A-Cads during late 1965-mid 1966, including a short spell in the UK, Goode returned to South Africa in September that year and reunited with Sharpe in a new formation.

Scotsmen John Elliott and Albert Rossi met in South Africa when they were both employed as session players at Troubadour Records. Rossi appeared on Quentin E Klopjaeger’s LP Sad Simon Lives Again.

The drummer had worked with Chris Lamb & The Universals in the UK before emigrating to South Africa in 1964/1965.

Elliott meanwhile had worked in John E Sharpe’s short-lived group, New Order during 1967.

John Elliott in New Order. Thanks to Alan Shane for the photo

Nic Martens had worked with Durban groups The Navarones and The Lehman Limited alongside future Freedom Children’s drummer Colin Pratley before later working with The Noel McDermott Group.

The five musicians came together around September 1967 and worked under producer Billy Forrest, who landed the recording deal for a lone 45 which coupled covers of Booker T & The MGs “Green Onions” with Herbie Hancock’s “Watermelon Man”.

Green Onions MP3, thanks to Tertius Louw for sharing the recording.

The single is extremely rare and I am very grateful to South African music writer and collector Tertius Louw for sharing scans of both sides of the record.

Around August 1968, the group broke up and while Martens later worked with Freedom’s Children, Sharpe and Goode formed another band called John E Sharpe & His Board of Directors who issued another rare 45 on Parlophone which coupled “Way Down Yonder in New Orleans” with “Legend of a Big Toe”.

Both musicians then hooked up with former Freedom’s Children guitarist Julian Laxton in the short-lived Crystal Drive.

I’d be interested to hear from anyone who can add more information.

Huge thanks to Albert Rossi and Tertius Louw for background info. Thanks to Tertius also for providing the MP3 recordings.

Categories: California, Hollywood, Los Angeles, Rosco

The Missing Links “I Cried Goodbye” on Rosco

September 8, 2019 Chris Bishop Leave a comment

This group of Missing Links recorded on Rosco Records out of Hollywood. According to a paragraph that popped up on Wikipedia before being removed, the band’s members were Larry Duncan, Jim Stanley, Mike Swain and Danny DeLacey.

The controversy over that paragraph derives from whether the Missing Links backed Micky Dolenz for a brief time as Mickey and the One Nighters, at the instigation of Eddie Hodges. The Cool Cherry Cream site has the best summary of this crucial morsel of music history.

That site quotes Andrew Sandoval’s The Monkees: Day-By-Day, including that the Missing Links appeared at a spot called La Pitcher in Denver (anyone know more about this club?)

Regardless, the Missing Links did cut one great 45 without Micky, a cover of a recent Al Dowling song “Heartbreak Hill” b/w an original “I Cried Goodbye” on Rosco Records 418.

D. DeLacey and C. Stevens wrote “I Cried Goodbye” for Misslink Music, production through Rosco’s Chartmaker Productions, Inc. at N. Vine St. in Hollywood. I’m not sure who C. Stevens is.

The correct spelling of Danny DeLacey’s name is Danny DeLacy, at least that’s how it appears in a Cash Box artist directory and a very interesting item in the July 18, 1964 issue of Cash Box that describes him as an Australian and mentions his current DeVille Records single.

That single did see release on DeVille Records DE 118, but with the artist credited as “The One” through a paste-over label. It features “All the Time” and “You Got That Love”, both by Danny DeLacy and Jonny Baron for Charlin Music and Fabulous Music (ASCAP).

I haven’t heard either side – if you have audio files please contact me!

Production by Jay Colonna; he also receives production credit on a Danny Welton ‎single “Julie” / “Stroblights” from the movie “Girl in Gold Boots” (1968), one of the worst rated flicks on IMDB, and Elroy Peace’s funk 45 on Jo-Jo, “Whirlybird” / “Mama Sho-Nuff Is Psyche” (intriguing title!)

At some point, Danny DeLacy returned to Australia. When bassist Kim Lynch left the Australian group The Loved Ones in 1967, Rob Lovett switched to bass and Danny DeLacy joined on lead guitar. Interestingly, Australian rock history site Miles Ago describes DeLacy as an American!

Elroy Peace also had a number of Australian releases, I wonder if there’s some connection.

One other intriguing side-note: Rosco Records 417, just before the Missing Links features the Nova-Tones “Walk on the Surf Side”, a song by Bill Lincoln and Mike Dood for Beaver Music. Likely this is the same Bill Lincoln who recorded with the Bushmen, the War-Babies and Euphoria! I haven’t heard the Nova-Tones single either, so if anyone has a copy please let me know.

Categories: Dot, Nashville, Tennessee

The Violations (former members of Sam the Sham & the Pharaohs)

August 20, 2019 Chris Bishop 6 Comments

Sam the Sham’s entire backing band quit towards the end of 1965, supposedly over financial disagreements. David Martin, Jerry Patterson, Ray Stinnett and Paul Gibson could not keep the Pharaohs name, and Sam recruited an entirely new Pharaohs lineup.

The remaining group cut one single as the Violations on Dot 45-16866, with Sam the Sham’s producer Stan Kesler, released in April, 1966.

Paul Gibson wrote the fast-moving r&b top side, “You Sure Have Changed” and collaborated with Ray Stinnett on “The Hanging”. The drumming is especially noticeable on both sides. I’ve read that “The Hanging” is a comment on the breakup with Samudio, but the lyrics are either oblique, like “People offer many persuasions/ Some offer gold as a prize / But they lie …”, or simply hard to comprehend over the slamming drums!

Cash Box reviewed the single in early May, 1966, giving it positive B+/B reviews, but the single faded without making any charts that I’m aware of.

Violations reviewed in Cash Box, May 7, 1966

Paul Gibson copyrighted two other songs in 1966, “A Long, Long Way” which was the B-side to Sam the Sham’s January 1966 single “Red Hot”, and “Like You Use To” which I’m not sure if anyone recorded.

I read Paul “Butch” Gibson left the music business after this single.

Ray Stinnett formed the 1st Century and released one 445 on Capitol produced by Don Nix featuring two of his original songs, “Looking Down” / “Dancing Girl”. He would work with Booker T. Jones and in 1971 cut his own album that would wait 40 years to be released with the title A Fire Somewhere.

Info from Ian Parker’s interview with Ray Stinnett at For Folk’s Sake.

Categories: Nashville, Not garage, Tennessee, Unknown, Zap

The Innocence “Quit Buggin’ Me” on Zap Records

August 18, 2019 Chris Bishop Leave a comment

I hadn’t heard the Innocence single “Quit Buggin’ Me” on Zap Records 2331, but I bought a copy because the titles were promising and it shares a label with a favorite garage 45, the Starlites‘ “Wait For Me”.

“Quit Buggin’ Me” turns out to be a fairly hilarious song-poem type vocal over a rock backing track (with flute, why not).

Quit buggin’ me,
I don’t want to be bothered,
Can’t you see,
You’re wasting your time.

Besides the singer’s off-time interjections of “Quit buggin’ me”, I like lyrics such as “keep fishin’ round, you got the bait”! plus the chorus chanting “You’ve had your way” and “I’m off the hook”.

“Jungle of Love” is more countrified and the lyrics a bit hackneyed.

Rozella Staples and Joan Hager wrote both songs, published through Top Talent Music BMI. They registered the songs with the Library of Congress in September 1970, but from the pressing code ZAFX-6805217, I believe this was actually recorded and released in 1968.

Zap Records was part of Belle Meade Records in Nashville, also known for song-poem releases.

Categories: Bridgeport, Centennial, Clarksburg, Unknown, West Virginia

The Magnums on Centennial of Bridgeport, West Virginia

July 31, 2019 Chris Bishop Leave a comment

The Magnums had one release of R&B sounds dense with echo, both originals by Charles Collins. “One of These Days” is the uptempo side, while “Two People Against the World” is the slow ballad. Can’t tell you anything more about the band at this time.

Released as Centennial 45-1863-2, the King pressing dates it to 1964. Panhandle Pub. Co. handled the publishing, as it did for the New Mason Dixons’ single “Back Up” / “Totaled” (both by Sam Follo) on Centennial 45-1863-1. Centennial’s address was 217 Blackwell St., Bridgeport, West Virginia.

There’s also a Centennial 45-1863-3, Pee Wee & the Prophets “Let’s Work” / “Tell Me”, with the address changed to Clarksburg.

Categories: Hilaire, Pennsylvania, St. Davids

Andy Mark and Andy’s Tool Box

July 23, 2019 Chris Bishop 3 Comments

Photo taken by Dave Peirce, reproduced with his permission

Andy Mark came from St. Davids, Pennsylvania, a small community close to Wayne, about 15 miles northwest of Philadelphia.

A promotional sleeve created at the time of his first single reproduces a number of news articles, programs and letters. Andy was part of a folk group referred to variously as the Suburan Three or the Suburban Four.

These St. Davids lads are: Andy Mark, 13, guitarist; Jim Schnaars, 13, second guitarist and lead vocalist; Dan Gladish 14, Irish bass player; all students at Radnor Junior High, and Bob Schnaars, 15, blue-grass banjoist, who attends Mercersburg Academy.

Another Hootenany program omits Bob Schnaars and lists Jaccy Schnaars instead of Jim. Debbie DuPont managed his bookings, and Ed Cotlar produced his first single. Ed Cotlar had worked for Cameo-Parkway and Goodway Records, and in 1968 would join Diamond.

front of promotional package that accompanied “Partime Hippie”

Andy Mark and Deborah duPont Billboard, April 27, 1968 — Billboard, April 27, 1968

Billboard published two mentions about this release in the April 20 and 27, 1968 issues.

Ed Cotlar is reactivating his free-lance record promotion service, E-jay Enterprises – House of Ideas. His first accounts are “Girl Watcher,” by the O’Kaysions on North State Records and “Part Time Hippie,” by Andy Mark on Hilaire Records.

The second news item is about Deborah Eldredge duPont forming Hilaire Records headquartered in St. Davids, PA. Unfortunately the item spells the A-side as “Oartime Hippie”.

Hilaire H-100 has two originals by Andy Mark, “Partime Hippie” and “Take a Good Look”. Both songs’ lyrics seem to question fads of the time.

“Partime Hippie”

Not all of us can make it (?),
So we’ll just have to fake it,
Unless we want to stand up to the world.
??
But in some peoples’ eyes,
You can’t be a man till you grow a beard.
It’s a new generation,
Of a new revelation,
It’s a turn-on, tune-in and drop out.
[music freaks out]
I know what you’re thinking
That I’m supervising (?)
But you don’t know how wrong that you are.
Not all of us can make it,
So we’ll just have to fake it,
Unless we want to stand up to the world.

“Take a Good Look”

The time has come when I must run and leave you to your games,
It’s been a year, the time is here to forget our names.
Take a good look and tell me what you see,
Take a good look and tell me what you’ll be.
You say that truth is meaningless and you live for today
I say that truth is valuable, who’s to say?
I regret I must disagree,
That in this world, one cannot be entirely free.
Take a good look and tell me what you see,
Take a good look and tell me what you’ll be.
I regret I must disagree,
That in this world, one cannot be entirely free.
Until you see my reasoning I must be sure of just one thing,
That when you change and come back home, you’ll know that I am here (?)
Take a good look and tell me what you see
Take a good look and tell me what you’ll be.

Bissel Music is listed as publisher, but I can find no copyright record for these songs.

Interestingly, the promotional packet that accompanied the “Partime Hippie” single does not mention either song from that single or provide the lyrics.

The Philadelphia Inquirer had a full article on Andy on June 9, 1968, with a photo and the headline “‘Rich Fairy Godmother’ Aids Young Rock Star”. Unfortunately I do not currently have an online newspaper archive subscription so I can’t access the photo or full text but I did glimpse some excerpts:

“Dave Hardt on bass guitar and John Fuchs on drums. Andy and Dave were just graduated from Radnor Senior High School, while John is entering his senior year.”

Andy “picked up pointers on the instrument from his older brother. Andy cannot read music and must tape all his original songs and have a friend transcribe them. Andy and his friends have appeared on several television shows …”

There is also a mention of Andy’s music being conservative in political outlook, and that he would be studying law in the future.

Andy Mark’s statement from the promo kit

A second single saw release as Andy’s Tool Box, also on Hilaire but with a different label design and numbering (527 this time).

“Well of Your Love” is a swift-moving rocker with organ and bass in the fore of the mix, backed with the piano-led ballad “Breadcrumbs” that livens up with harmonies in the chorus. This time the lyrics are concerned with relationships and unrequited love. Andy Mark wrote “Well of Your Love” and co-wrote “Breadcrumbs” with J. Peirce.

This single came with a picture sleeve that shows Andy with photos of an unnamed drummer and bassist.

H. Kaplan produced, with distribution by Melrose Records, and publishing by Hera BMI (though once again I find no registration with the Library of Congress).

According to an article in the Philadelphia Inquirer, in 1972, Andy Mark went into commercial jingles for radio and TV, starting several companies including Philadelphia Music Works, Broadcast Results Group, and the Canary Collection. He passed away in February, 2009 at the age of 58.

Thank you to John Pitts for research help with this article, and to Dave Peirce for the high quality scans of the photos he took of Andy.

Andy Mark Hilaire PS Partime Hippie Gatefold — Inside of the promotional folder that came with my copy of “Partime Hippie”

Categories: Connecticut, Plainfield, Planet, Planet Studios (Providence)

Karen and the Starliners “I Can Count the Times” on Planet

July 10, 2019 Chris Bishop 3 Comments

Karen and the Starliners came from Plainfield, Connecticut, but recorded at Planet Studios in Providence, Rhode Island. “I Can Count the Times” has a good garage backing, the flip “Storm in My Heart” is a more typical ballad.

Fred Richards wrote both songs, published by Planet’s in-house company Ranford Music Co., and registered with the Library of Congress in October, 1966.

This seems to be their only release. I don’t have any other band members’ names.

Garage Hangover