Revolver made one single circa 1973, with the A-side being the Kinks-like “Roll-a-Coaster Man”, and the flip the Beatles-esque “Caught In a Day”. Both sides have harmonies and a sixties sensibility but the lead guitar especially is definitely ’70s in sound.
Ken Brophy wrote “Roll-a-Coaster Man”, and Brophy and Jim Rosler wrote “Caught In a Day”, which is the song I most like. Carl Siracuse and Revolver produced the single.
I don’t know where the band was from, but Roxan studios was located in Wilkes-Barre, Pennsylvania and owned by Mike Stahl. A small batch of the 45s was found in New Jersey.
Roxan also released singles by the Innkeepers “Bittersweet” (written adn produced by John Paris) / “Someday”, Staneless Steele (“Down at the Y” / “Never Tell a Lie” (both written by Joe Scovish), B.B.K’s Expedition ”Change The American Dream” / “Sole Confusion” and TNT, plus an album by Frankie & The Corvettes.
The Black Banana had two singles under different band names. The first 45 I’d heard but hadn’t connected to the second because of the different artist name until Mike Markesich pointed out the connection in his comment below. Mike kindly provided scans of the 1st single as the Black Banana.
The group was from Limestone, in upstate New York, only a little west of Olean, the home of the Tigermen. The Tigermen were active earlier, but perhaps the bands knew each other. Mike tells me the band was also based in Bradford, Pennsylvania, just south of Limestone.
Reversing the usual way of garage bands, the group formed after some of the members had finished their military service. They have a great mid-’60s sound on both their singles despite the late recording dates.
Both singles list the members on the label, for this first one the lineup is:
Fred Mascioni Karl Langner Dave McGee
Denny Eck would join the group on guitar by the time of the second single, but he is credited with co-writing “Listen Girl” with McGee and Mascioni.
McGee and Mascioni wrote “Please Come Back to Me” which I haven’t heard yet.
Karl Langner and Arnold White designed the cool label, and Car Hamme engineered the recording. This is an RCA custom pressing from 1969.
The second release has the Fog label but the band name is changed to Banana Music Ltd. It may date as late as 1971.
Members were:
Fred Mascioni Karl Langner Dave McGee Denny Eck
Denny Eck wrote “Don’t Bother Us” and Mascioni & Eck wrote “Walkin'”.
The group is listed as “The Mack Banana Band” in the Bradford Era newspaper from August 1, 1969. From the excerpt I could find online, all the members names are listed except Denny Eck:
The new sound around, come and listen to music written & played by THE MACK BANANA Band — Fred Mascioni, Karl Langner, Dave McGee …
Besides Fog Music Inc., there are other production credits on the labels: “Langner Label”, “Rotten Crates Music Corp.” and “Black Banana”.
When Mike Markesich contacted Fred Mascioni he mentioned there were songs cut for an album that went unreleased.
Before the Buckinghams, there were the Centuries, who released one fine single on the Spectra-Sound label in 1965, “I Love You No More” b/w “Yeh: It’s Alright”.
The Centuries’ members were:
Carl Giammarese – lead guitar Nick Fortuna – rhythm guitar Curt Bachman – bass guitar and lead vocals on “I Love You No More” Gerald Elarde – drums and lead vocals on “Yeh; It’s Alright”
Listen to “I Love You No More” below. “Yeh; It’s Alright” is also good, especially Carl’s frantic guitar solo.
It’s Alright and I Love You No More were recorded by The Centuries in, I think, late 1964, at Lawrence and Western and I think it was the old St. Louis Insurance Building. My cousin Jerry Elarde was our drummer and lead singer (fab voice) … he sang It’s Alright. Our bass player, Curt Bachman, sang I Love You No More. I was the Lead Guitar player and Nick Fortuna was the rhythm guitar player. Both songs were written by Jeff Boyen (from Saturday’s Children). Jeff was part of a duo called Ron and Jeff, kind of folky, but they did early Beatles fabulously. These songs had nothing to do with The Buckinghams other than Nick and I became The Pulsations and then The Buckinghams.
Jeff Boyan was part of the Blackstones which included Curt Bachman for a time. The Blackstones would release four singles on the Invictus label, including a slightly different arrangement of “I Love You No More” (as Dalek/Engam: the Blackstones) in July, 1965. Boyan would go on to join Saturday’s Children with singles on Dunwich. Deb Music BMI published both songs, which were credited to “Geoff – Boyan”.
Carl Giammarese, Nick Fortuna and Curt Bachman would continue with a name change to the Pulsations, adding Dennis Tufano, Jon Poulos, and Dennis Miccoli and eventually becoming the Buckinghams. The Buckinghams first single would also come out on Spectra-Sound Records, “Sweets for My Sweet” / “Beginner’s Love”, before they were signed to U.S.A. Records.
Dan Belloc owned Spectra-Sound Records. The Centuries single has master numbers 4759-1 and 4760-1 while the Buckinghams has S-4617, which may indicate the Buckinghams was released first, but I am not sure of that.
For more info on Jeff Boyan and context on these bands, I definitely recommend Jeff Jarema’s interview with Jerry McGeorge of the Blackstones, the Shadows of Knight, and H.P. Lovecraft in Here ‘Tis #6, which can be found on the Internet Archive.
Jean Purretta (bottom center) in the Beachcomber, August 12, 1959
Jeannie Purretta released one single in the early ’60s on the Camsul label owned by Dick Campbell, who also wrote and produced both sides, and Artie Sullivan, who co-produced.
“If You See My Baby” is a catchy, fast number with an interesting guitar-led passage after the first verse. The recording quality is somewhat crude but helps to give the single a wall-of-sound quality, and deserves a reissue as it is currently an obscure recording.
Jeannie sings “He’s My Boy Friend” with almost a country twang.
Jeannie Purretta came from Worcester, Massachusetts, graduating from Commerce High School in 1952. The Beachcomber of August 12, 1959, published in Hampton Beach, New Hampshire, has a photo and lists Jean Purretta as 1st place winner in a talent parade.
On April 27, 1960, Jean Purretta sang on three songs recorded in New York with a large group featuring Charlie Mariano, Vinnie Dean, Frank Soccolow, John Hafer, Pepper Adams, Curtis Fuller, Jerry Tyree, Burt Collins, Rick Kiefer, Chet Ferretti, Eddie Bert, Frank Rehak, Bill Elton, Mike Zwerin, Bill Barber, Tommy Flanagan, Paul Chambers, Charlie Persip, Sal Salvador.
Some of the session appeared on Tony Zano’s Balmore LP The Gathering Place but the vocals with Jean have never been issued to my knowledge. Tony Zano was a stage name for Anthony Ferrazzano.
Dick Campbell and Artie Sullivan started Camsul Records in Worcester in 1962. In 1965 they relocated to the midwest and started CineVista Records and Andrea Dawn Music, recording in Janesville WI (Leaf Records), Sauk City WI (Cuca Records) and Chicago, IL (Universal Studios).
I asked Artie about Jeannie’s single and he wrote to me:
Jeannie Purretta was singing in local clubs at the time and we heard her sing. She was our fourth release on Camsul Records while we were living in Shrewsbury MA. We recorded her in Worcester MA at North East Recording Studio (owner Fred Holovnia). Fred later moved to Shrewsbury MA. Last I checked she was living in Shrewsbury MA. We used the band the Scarlets to back her up and Dick & I sang background.
The Scarlets was a local college band from Worcester MA that Dick & Artie hooked up with and used to back up their recordings while living in Massachusetts. Dick joined the band about a year and half after they formed. The Scarlets consisted of Peter Damanis on drums, born in Queens NY attending Clark University Worcester MA, Gordon Schultz on lead guitar from Worcester MA also at Clark University Worcester MA and John Benson on bass from Worcester Ma attending Worcester Tech.
Thank you to Artie Sullivan for the information about Jeannie and the Scarlets.
The Creation were from Albuquerque, New Mexico. There were three members in the group: Al O’Donnell on lead and rhythm guitar, his brother Mike O’Donnell on bass, and Ernie Phillips on rhythm guitar. All three contributed lead and harmony vocals.
The Creation recorded two singles within a few months of each other. The first was “What The Daisies Know” / “Sun And Stars (I Miss Her So)” on Centurion 45-3001, recorded in October 1967 and released by December. Both sides were written by O’Donnell and Phillips for Tenmand Music, BMI. The publishing contracts list Joe Green with Tenmand Music. Distribution was by Lance Music Enterprises on SW 4th St.
The second single is “No Silver Bird” backed with “The Warmth of Love” on Centurion 45-3002, recorded December, 1967. The quality of the band’s performance is very different from the Creation’s first 45, more disciplined and better-recorded, with a droning, trance-inducing sound.
The label design is also not much like Centurion 45-3001, with a different typeface, nor does it have the Lance distribution credit at the bottom. The Wakefield plant in Phoenix pressed both singles.
Lyrics to “No Silver Bird” consist of only six lines!
Go on, take an airplane ride, Get on that big silver bird and fly, The world would be so heavenly, If you would come along trippin’ with me, Go on, take an airplane ride, Don’t need no silver bird by my side.
The Creation’s single of “No Silver Bird” is very rare; until 2018 the only image circulating was a poor quality b&w photo of a DJ promo label. With nothing known about the Creation, there was speculation that their version of “No Silver Bird” was an ’80s recording made in an older style.
On July 7, 1968, the Hooterville Trolley recorded their own versions of “No Silver Bird” and “The Warmth of Love” at Norman Petty’s recording studio in Clovis with producer Tommy Bee. The Hooterville Trolley and the Creation did not share any band members.
The labels give Ernest Phillips sole credit for both songs, and publishing changes to Reginald Music Publ. and Stinger Music. The Hooterville Trolley single wasn’t released until January of 1969.
Tenmand Music publishing contract for “No Silver Bird” and “The Warmth of Love” by the Creation
In 2018 Al O’Donnell contacted me, and together with his brother Michael, answered my questions about the group and provided the scans of the contracts, lyrics and radio survey seen here.
Al O’Donnell:
The Creation was short-lived and we mostly wrote and arranged songs.
I have been playing guitar since very young. I usually played lead and rhythm on tracks. Mike picked up the bass as a new undertaking at the time we formed the band and became good very quick. Earnie played rhythm. The drummer and keyboard were always hired out and not part of the music development or lyrics.
Q. Who sang on the songs?
In all the songs Earnie, Mike and I sang and/or harmonized.
Q. Did the Creation play live shows? Are there any photos of the group?
Not really and no photos, [we were] just song writers composers and hopeful performers.
A couple of older gentlemen came to us and wanted to make us big. We had a backer and recorded both records that did get lots of airplay in the local area. Several thousand records were distributed.
The Creation’s “Sun and Stars” listed in KQEO’s Local Spotlight for December 16, 1967
“The Warmth of Love” was played locally as well, just did not get a local spotlight note.
On “No Silver Bird”, the guitar I was playing used a sound effect pedal and the repeater was adjustable with which I could set the tempo, that was the sound you refer to. Not even sure of what brand all the equipment was … I have had so many.
After several months of air play and not hearing from the guys who were doing the distribution, we went to their office and it was empty. Gone, along with the proceeds from the record shops. Being young and broke we could not pursue.
I never heard the Hooterville Trolley version [before recently]. I was not involved with Hooterville.
“Here Comes That Rainy Day Feeling” recorded by the Fortunes and “Signs” recorded by the Canadian group Five Man Electrical band sounded suspiciously like ones we wrote, can’t prove it today as the originals were on Earnie’s machine, gone forever. Both were credited to have been written by others.
Phillips died some time ago.
I am the only one who plays today for fun. I own a Martin 6 and a Seagull 12 with pickups for larger occasions. I have some some originals I have written since then but no real connection to the industry, and just copywriting for the heck of it seems a waste of time knowing the industry.
Al ODonnell, 2018
Lyrics to “Sun and Stars”
Michael O’Donnell:
Earnie was in sales so he actually found Green [Joe Green, Tenmand Music publisher]. Green had advertised in the paper looking for local talent and Earnie responded after telling us about what he found, at least that is how I remember it.
After we made contact Earnie, Al and myself went and met Green and sang something for him and that is where it started.
I believe the second record, “Warmth of Love” and “No Silver Bird” were recorded in December 1967. I do remember hearing the song on KQEO while I was driving down the street, that is not something you easily forget.
Q. I checked BMI and the Library of Congress lists online but couldn’t find registration of any of your songs. I noticed Phillips was listed as sole writer of “No Silver Bird” on the label. Was that a mistake?
Creation lyrics to “No Silver Bird”
Ernie is no longer with us to speak for his recollection so I can only say I remember that no one could claim individual credit for anything the group did. There was collaboration in the lyrics, music and arrangement by each member for everything recorded. I have included the original note paper lyrics that I wrote down as we all worked together.If you looked at the initial contract for the second record, “Warmth of Love” and “No Silver Bird” you will see all three individuals were credited for writing etc. Not that it makes any difference, the history is just fun.
I seem to recall that Ernie fronted a larger portion of the money to record the second record (“No Silver Bird”) so I can only assume that this is how he negotiated with the promoter to be repaid.
There were different “tasks” each undertook in the process and Ernie took on the task of getting paperwork processed with the promoter etc. When I found the paper-work concerning the contracts, I also found uncompleted copy-right paperwork so I suppose that was one task that did not get completed.
When you are very young and naive, things like this attention to detail sort of slips. We were just having fun and trusting the promoters, contracts and each other.
Michael O’Donnell, 2018
——
There was one additional single on Centurion 45-3003/4. One side is Los Gallegos y Sr. Max Roybal “San Martin des Porres”, written by Jose Green and arranged by Ramon Gallegos. The other side is Sean & the Junction with “My Little Girl” written by Ernest Phillips and Joseph E. Green, and produced and arranged by Ernie Phillips. “My Little Girl” starts slow and immediately picks up tempo, with an unusual middle section, and a lead vocal in what I consider a crooning or song-poem style. Unlike the Creation’s songs, Tenmand Music registered both of these with the Library of Congress on December 9, 1968. Al and Michael O’Donnell do not recall these artists or know who was involved with Sean & the Junction.
Thank you to Al and Michael O’Donnell for answering my questions about the group and also for providing scans of contracts, lyrics and the KQEO survey.
Thank you to Jeremy Sloan for alerting me to the third Centurion single.
Lyrics to “What The Daisies Know”Tenmand Music publishing contract for “Sun and Stars” and “What the Daisies Know” by the Creation
The Chevels released only one single that I know of, but it’s a double-sided instrumental winner. It’s not an unknown single, but it is one of many featuring Pat and Lolly Vegas, who deserve a full singles discography of their own.
Lolly Vegas wrote “Hendersonville”, a fine guitar workout on blues changes. It’s difficult to know which Hendersonville the title refers to, the suburb of Nashville along the Cumberland River is a possibility.
Pat Vegas and E. Engber wrote “Hootenanny Ho-Down”. Engber is actually Elliot Ingber, who played rhythm guitar with the Gamblers of “Moon Dawg!” / “LSD-25” fame, joined the Mothers of Invention and played on Freak Out, started the Fraternity of Man, and joined Captain Beefheart on The Spotlight Kid, among many other credits.
Released on Gass GS-1001, the October 19, 1963 issue of Cash Box reviewed the single favorably, listing “Hootenanny Ho-Down” as the top side.
Production was by Gram – Fisher, possibly J. Fisher, but I haven’t come across these names before to my recollection.
The only other Gass single, by the Travelers, was produced by Leo Kulka, who would move to San Francisco and found Golden State Recorders in 1964.
The Buggs came from Forbes High School in Kantner, Pennsylvania, about 75 miles southeast of Pittsburgh. In February, 1966, the Buggs cut two songs at Bittner’s Recording Co. in nearby Somerset. “It’s All Right” is great frantic garage, “Please Be True” is an original ballad by Raymond Lohr. Rite Record Productions in Cincinnati pressed the 45s, which are now very scarce.
Members were:
Raymond Lohr – singer and lead guitar Ernie Lohr – bass guitar Barry Boyer – organ Joe Wirleich – drums
The Somerset Daily American Newspaper on Wednesday, March 9, 1966 wrote:
No, these are not the kind that will bite or harm you. As a matter of fact, they are pretty friendly. It is a name given to a Rock and Roll band from Forbes. Members of the group are: Raymond Lohr, singer and lead guitar; Ernie Lohr, bass guitar; Joe Wirleich, drums; and Barry Boyer, organ. All members of the group are from Forbes, except the manager, Ronnie Eutin, who is from Frielens.
They recently cut their first record with the Bittner Recording Company of Somerset.
The group will suffer a great loss, when Ernie Lohr leaves for the service at the end of March. Ernie has been with the group since it started in 1964.
Bittner’s would release four other singles that I know of, one each by Andy Wynn, Donnie Hunter, Larry LaVigne and Judie Follmar.
Ray Lohr passed away on May 17, 2017. An obituary online adds some information about his song, “Please Be True”:
He grew up in Hooversville, Pennsylvania, and graduated in 1966 from Forbes High School in Kantner, Pennsylvania. While in high school, he was a member of “The Buggs” rock ‘n’ roll group; he wrote and produced a 45 record entitled “Please Be True to Me Girl” about his high school sweetheart who had moved to Anchorage, Alaska. Shortly thereafter, Ray headed to Anchorage where he married the love of his life, Sandra J. Shumaker, on March 4, 1967.
Here’s a relatively unknown single by female vocalist Brook Hall. The A-side has the solid hippie-psych of “I Had a Dream”, the flip “Coming of the Sun” is a ballad.
Brook Hall and P. Kasper wrote “I Had a Dream”, and Phil Kasper wrote “Coming of the Sun”, both show publishing Target Music (BMI).
Produced by Terry Munford, this was released on the one-off Target label of Hollywood as Target T-1010 in March of 1970.
I can’t find any leads on the people who made this record. I did find “I Had a Dream the Other Day” registered to Guy Ditmars and Brook Hall, Vail Pub. Corp, in November 1969.
The Wanderers cut this great version of Fats Domino’s 1958 hit, “Sick and Tired”, with catchy lead guitar throughout. The flip is a good version of “There Is Something on Your Mind”.
Tri City Records released this as Tri 5452. The code ZTSB 125453 refers to a custom pressing at Columbia’s Nashville plant, probably in early 1966.
I doubt I will discover who was in the Wanderers, as both sides are versions of r&b hits so there is no song writing credit to trace.
It does seem possible these Wanderers are the same group on a yellow-label 45 pressed by World Wide Records in Nashville, and produced by Tri-City Records, No. 3269. One side has Kenneth Castlemen’s great take on “Match Box”, the other James Stafford with the Wanderers doing “Changing My Mind “.
These artists are supposed to be from Jackson, Tennessee, about 2 hours drive west of Nashville.
World Wide Records is mentioned in Billboard as starting in 1966 and having Carlene Westcott Whaley as sales manager, prior to her starting Consolidated Record Enterprises. World Wide had a studio at 5819 Old Harding Rd in Nashville and seemed to specialize in white gospel records.
In November 1967 a single by the Riders of the Mark came out on 20th Century Fox Records 45-6694. One side is the very accessible “Gotta Find Somebody”; the flip is the wild two minutes of “The Electronic Insides and Metal Complexion That Make Up Herr Doktor Krieg”.
Teen Beat Mayhem lists locations of Moorestown, New Jersey which is east of Philadelphia, and Lancaster, Pennsylvania, over an hour’s drive to the west.
The Riders of the Mark may have been a real group, but the credits on their 20th Century Fox single don’t support that idea, and instead point to John Hill, Don Cochrane and their associates.
John Hill wrote “Gotta Find Somebody”; John Hill and Don Cochrane wrote “The Electronic Insides and Metal Complexion That Make Up Herr Doktor Krieg”. Blackwood Music published both songs, and the Blackwood connection features in the lead for news items on the recording in Cash Box and Record World. Tony Luis and John Hill produced both sides, and Hill arranged “… Herr Doktor Krieg”.
Record World, November 4, 1967
John Hill and Don Cochrane composed “Love, Love, Love, Love, Love” for the Nite People, also done by Wool, and John Hill released it under his own name on a Columbia 45 backed with “I’m a Bear”.
Hill produced and played guitar on Margo Guryan’s 1968 LP Take a Picture, and produced the sessions that would be released as Susan Christie’s Paint a Lady. Studio musicians included Kirk Hamilton on bass and Jim Valerio on drums. These were done at Philadelphia’s Sigma Sound Studios, but since that studio opened in 1968, I have to assume the Riders of the Mark single was recorded elsewhere.
In 2009, Finders Keepers Records released some of his 1970 sessions at Sigma Sound as John Hill’s 6 Moons of Jupiter.
This site is a work in progress on 1960s garage rock bands. All entries can be updated, corrected and expanded. If you have information on a band featured here, please let me know and I will update the site and credit you accordingly.
I am dedicated to making this site a center for research about '60s music scenes. Please consider donating archival materials such as photos, records, news clippings, scrapbooks or other material from the '60s. Please contact me at rchrisbishop@gmail.com if you can loan or donate original materials
