Category Archives: Label

Categories: Dynamic Sound, Nassau County, New York, Plainview

The Aggregation on Dynamic Sound

November 22, 2019 Chris Bishop 5 Comments

The Aggregation cut two fine originals, “Candlestickstomp” and “You Lied to Me” for the Dynamic Sound label of Long Island, NY.

Members were:

Russell Javors – lead guitar
Bob Wenmouth – rhythm guitar
Ken Rosenberg – lead vocals and bass
Jim Carey – drums

As you can see, my copy did not arrive in very good condition.

Aggregation Photo School Dance — The Aggregation playing at a school dance

There was very little information about them until I heard from Ken Rosenberg, who sent in the photos seen here and wrote to me about the band:

This is Kenny Rosenberg, better known now as Kenny Owens since 1981, ’82. The group came out of Plainview, NY right next to Hicksville. I was the lead singer & bassist, Russell Javors played lead guitar, Bob Wenmouth played rhythm and Jim Carey played drums. We were pretty young, Jim was I think 13 the rest of us a little older. Russell a year younger than Bob and me. Jim and Bob are no longer present on earth.
The band used to play high school dances and parties and town pool events. Entered the battle of the bands, came in 2nd the first time, next year came in 1st.
We used to practice at 30 Eldorado Blvd in the Carey’s converted garage. We were big fans of the Mersey Sound.
The studio was in a modest house in Hicksville, recorded in the basement and the owner had his own pressing machine. That’s how I remember it.
We also recorded a 5 song acetate. Bob’s wife has a copy. Jim’s family has a copy. I let mine go years ago, in some landfill in Oyster Bay. One of the songs exists with “Candlestick Stomp” in a ten minute indie film … called American Sugar. “In This Placing” was the tune. The Careys tracked me down so they could use it in the film. I do remember we did a version of the stones “The Last Time”.
In answer about other 60’s bands I was in, I was the lead singer for a band called The Clique, we opened for The Young Rascals at Plainview High School, fun show.
Currently I’m an Americana singer-songwriter living in Hendersonville, TN. I record and make records and CD’s when I can. My site is kennyowensthewheatpennies.com .

Ken Rosenberg wrote “Candlestickstomp”. Russ Javors, Ken Rosenberg and Wenmouth collaborated on “You Lied to Me”.

Russ Javors later played guitar in Billy Joel’s band for many years.

Aggregation Photo 2 — The Aggregation at a battle-of-the-bands

The Dynamic Sound label

The “WElls 8-7108” phone number on the labels indicates Dynamic Sound was based in Plainview, Jericho or Hicksville, NY.

I know of two released 45s:

Dynamic Sound DY-105 – Aggregation – “You Lied to Me” / “Candlestick Stomp”
Dynamic Sound DY-106 – Born Mean – “Don’t Let the Sun Catch You Crying” / “Shapes of Things” (a Rite vinyl pressing)

I’ve heard four acetate demos from Dynamic Sound, these three have the Wells exchange on the Dynamic Sound label:

The 5 of Us – “One of a Kind” / “But He Promised”
Satan & the Body Snatchers – “Little Young Girl” / “In the Summertime”
The Un-Called Four – “Since You’ve Been Gone” / “Masters of War”

This acetate I’ve heard (and both cuts are excellent) but haven’t seen the label:

The Gothics – “Mover” (instrumental) / “Watch Me Now”

—–

There was a Dynamic Sound label that released singles such as James Ray’s “I’ve Got My Mind Set On You”. Those usually have a “Hutch Davie” production logo and date to a few years earlier.

I doubt there’s any connection with the Dynamic Sound label of Milwaukee, WI.

There are at least two releases from Ohio that feature a Dynamic Sound label. The Born Mean cut “Shape Of Things” / “Don’t Let the Sun Catch You Crying” in 1966. The band may have been from New York but the release on Dynamic Sound 1068 was a Rite pressing from Cincinnati. Then in 1969 comes the Crystal Rain ‎with “You & Me” / “World On Fire” on Dynamic Sound 91101.

My broken copy of the Aggregation was shipped from Ohio so I wonder if there could be some connection?

Categories: Burlingame, California, Highland

Debbie Williams and the Unwritten Law on Highland

November 6, 2019 Chris Bishop 5 Comments

This 45 by Debbie Williams & the Unwritten Law is the best thing I’ve come across in a long while. Both sides feature Debbie’s gravely, country-inflected voice with excellent backing by the Unwritten Law.

Released on Highland 1184 in November 1967, Debbie was a young teen when she recorded this single. An article from the Long Beach Independent on September 19, 1967 gives her age as 13, and that she had been making demos since she was six. She had skated in Ice Follies and Holiday on Ice with her parents and brother Robbie since she was two.

Another news feature on Debbie from the Santa Cruz Sentinel from February 29, 1968 mentioned her current base in Napa County, and her previous skating in Chicago.

The A-side is “Love Seems So Hard to Find”, with the wild lyric “Today, today he shut me down, because I was trippin’ hard”!

The country feeling is even stronger on “Ask Me”. Highland Records released Debbie’s single as release # 1184. A rare picture sleeve with photos by Fred Endo is viewable on 45cat. Milt Rogers produced, with distribution by by Malynn Enterprises, Inc.

Publishing by Tiltal Music – J. Williams BMI. Tiltal has a number of other noteworthy copyrights, including the Phonetics “What Good (Am I Without You)” by Willie Hutchison on Trudel, and a few on Kerwood Records such as Jessie Hill’s “I’m Tellin’ You People” / “If I Am Lucky”, the Tormentors “Didn’t It Rain”, and Lonnie Russ “Say Girl” by Gerald Russ and Harold Williams.

The Unwritten Law

Jim Farrelly and Ken McCutcheon wrote both songs on the Debbie Williams single. Both were members of the Unwritten Law, a group from Burlingame whose lineup included at times:

Jerry Ellsworth
Jim Farrelly
Marty Eyestone (or Marty Gyestone according to one mention online)
Ken McCutcheon
Pat Patterson
Greg Raneri
Dan Ransford – drums

The Unwritten Law had their own single in 1967, “Actions Speak Louder” by Marty Eyestone b/w “This Whole World Is Blind” by Ken McCutcheon. This saw release on Strata Records, which I had thought was an East Coast label based on singles by the Deadbeats, the First Four and the Persianettes. Jerry Katz also produced the Deadbeats “No Second Chance” / “Why Did You”. How the Unwritten Law single came to be on Strata is a mystery to me.

Rob Farrelly helpfully clipped both of the articles on Debbie from online news sources, which helped me find them.

Categories: AAA Recording Studios (Boston), Connecticut, New London, Norwich, Subtown, Unknown

The Collage “Best Friend” on Coliseum and “Mystery Woman” / “Closing in on Me” on Subtown

October 31, 2019 Chris Bishop 8 Comments

The Collage are a mystery to me. They cut two singles, the first (as Mike pointed out in his comment below) was “Best Friend”, an original by band member John Phillips, published by Parsay Pub BMI. The flip is a charming cover of Brian Wilson’s “Girl Don’t Tell Me”.

The Collage recorded at AAA at 835 Dorchester Ave. in Dorchester, MA. Released in 1967 as Coliseum Record Productions 201,468/9, the 201 prefix to the release number indicates this was a Decca custom pressing.

Their second single on Subtown may be the best on the label.

John Doran wrote “Mystery Woman”, a good song with an arrangement that blends the groups’ harmonies with tasteful instrumentation.

John Phillps wrote the flip, “Closing In On Me”, with its opening line “As I look around and all I can see, my own shadow overshadowing me”. The band turns in an exciting performance, with some frenetic drumming. I love the song but the bright blasts of trumpet bother me after repeated listens and wish they’d left the horns off.

Neither song writer name appears on other Subtown releases.

Released on Subtown ST-101/2, with publishing by Echo, BMI but I can find no trace in BMI’s repertoire.

The label was part of Subtown Record Sales located at 169 Bank St. in New London, Connecticut. Subtown had other good releases by the Apple Corps and Davey And The Dolphins, among others.

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.

Garage Hangover