Despite the band members’ names on the label, this group is still something of a mystery. Members were Doug Dehart, Ron Riddle, Jim Frizell, Don Jones, and Ray Reade.
“You’re My Woman” has a murky, dirty sound to the rhythm guitar that flashes throughout the song. It has a dim, psychedelic aura from the last days of 1967. The flip side, “Our Love Was Strong” is a strange number alternating long harmony aahs with a plain, almost recited vocal.
The Buckeye Beat site states it was recorded at Commercial Recorders in Dayton, Ohio. This is a Rite pressing, with account # 1190 in the dead wax of both sides.
Bobby Simms was born Robert Siemiaskzo. While still in high school in 1961 he joined the Mus-Twangs as lead vocalist. The Mus-Twangs were based out of Harvey, Illinois, about 20 miles south of central Chicago and just west of Hammond, Indiana. The Mus-Twangs had two instrumental singles on Smash, including the very first single ever released by that label, “Marie” / “Roch Lomond”.
Simms left the Mustangs in 1962 and started the Bobby Simms Trio with Mus-Twangs bassist Keith Anderson, recording a good Mersey-influenced single in 1964 on New Breed “And Your Mine” / “Do Things Right” featuring the drumming and harmonica of Verne Johnson (later of Illinois Speed Press).
In 1965 Simms had his own single on Smash, “The World Is Funny” / “You’re My Everything” which I haven’t heard yet.
The following year he released a 45 as Bobby Simms and the Simmers, featuring two of his original songs, the raucous “Big Mama” backed with a much gentler harmony sound in “Please Please Believe”.
This seems to be the only release on WM & RC Records, though there were two different labels, one featuring a key and distribution by Summit. WM standing for Walter Melnyk, the manager of Simms and owner of the M.B. Club in the Burnside neighborhood of Chicago. The “C” in RC stands for Cox, co-producer of the sinle with Melnyk. Publishing was by M.B. Key BMI.
Musicians on the Simmers single included Keith Anderson and Verne Johnson from the Trio, plus guitarist Paul Cotton from the Mus-Twangs.
In 1967 Simms became one of the founding members of the Rotary Connection. Keith Anderson and Paul Cotton formed the Rovin’ Kind, which evolved into Illinois Speed Press.
I’m sorry to report that while researching this post I saw a comment from Keith Anderson that Bobby Simms passed away on May 29, 2015.
Information for this post came from Paul Cotton’s excellent site, especially this page on Bobby Simms.
In April of 1967 a band called The Colony released their only single, the wild “All I Want” b/w a great song called “Things On My Mind” on Platter Records P-105. The two make for an interesting contrast: one is hard-edged r&b with a desperate-sounding vocal, the other a much more polished production that includes string arrangements but keeps its drive.
Both songs were written by Mike Foley and Bill Eucker for Worlday-Jenks BMI.
Platter Records: a redundant name wouldn’t you say? Platter was located at 34 San Clemente St, in Ventura, California.
Warren Patients and the Cobras playing in Hazleton, PA, Feb. 25, 1967
The Platter Records discography looks like this (any additions would be appreciated):
Platter 1001: Homer Lee – “Pedernales River” (Bert Peck) / “I’ve Got Some Crying To Do” (June 1966) Platter 1002: The Cobras featuring Warren Patience – “It’s a Lie” (Michael Walker) Worlday-Jenks BMI / “Thoughts of You (Are Wrecking Me)” Sept. 1966 Platter 1003: Morrie Hamilton “Wimoweh” / “Pickin’ and Grin’in” (Morrie Hamilton – Chas. Wright for Worlday-Proctor BMI) (produced by Joe Bill D’Angelo) Platter 1004: The Two of Us (Bill & Dorice) “You’ll Love Me” (Richie Carpenter, Lightup Music BMI.) / “Piki Teepee” (no artist listed) Platter 1005 – The Colony – “All I Want” / “Things On My Mind” (Mike Foley and Bill Eucker) April 1967
Billboard mentions Burt Peck and Homer Lee’s Platter release, Billboard, June 18, 1966
The Cobras came from Kingston, Pennsylvania, west of Scranton. I have no idea how they came to be on Platter Records, but their 45 is a rare and classic garage single. The label for the Cobras reads “featuring Warren Patience” but an ad I found in a central PA newspaper puts his name as Warren Patients.
Homer Lee worked with a song writer out of Dallas, Texas. Morrie Hamilton worked in various locations including Denver. The Two of Us (Bill McClure and Dorice Vance) worked around Anaheim and Santa Ana in Orange County.
With the widespread origins of these artists, the Colony may have been the only act on the label actually from the Ventura area.
Platter Records reissue of “Piki Teepee”, originally the b-side of the Sundancers Breakout 45 “Devil Surf”Bill Eucker produced and arranged both sides of the Colony single. His full name is William Herschel Eucker. I have no other clue as to who performed on the Colony single, or if they were even a real band outside the session for these two songs. Bill Eucker’s name connects Platter Records with an earlier label from the Oxnard area, Break Out Records.
One odd thing about this discography is the B-side to the Two of Us single, credited only by its title “Piki Teepee”. This instrumental had original release two years earlier as the flip to the Sundancers’ Break Out Records single, “Devil Surf”. Who were the Sundancers? They were Chiyo & the Crescents by another name.
Chiyo Ishii, detail from a group photo
Chiyo & the Crescents and Break Out Records
The best info on Chiyo comes from the article and comments section of Office Naps’ post Everybody Wipe Out Now(officenaps.com/instrumentals-surf/everybody-wipe-out-now/ but this is now defunct), which I’ll summarize here, though I can’t attest to the veracity of all this information.
Chiyo was supposedly of Hopi Indian descent, originally named Chizomana. However, see the comment from Carolyn below, about one Fredericka Bick … “born & raised in Nebraska.”
In the 1940s Chiyo went to the University of Nebraska in Lincoln to study music. She married an engineer by the name of Fred Ishii who worked at Pt. Mugu Naval Air Station in Oxnard. She began giving lessons in various instruments at her home, but by the early ’60s she opened up her shop, Chiyo’s Guitars and Drums, on Saviers Road in Oxnard where she continued teaching, notably flamenco-style guitar.
Around 1962 or 1963, Chiyo formed a band called the Crescents:
Chiyo Ishii – lead guitar Thom Bresh – rhythm guitar Tom Mitchell – bass Ray Reed – sax Bob Ross – drums
Thom Bresh is Merle Travis’s son. He would have been about 15 or 16 at the time of these recordings. Bresh was taking lessons at Ernie Ball’s store in Thousand Oaks, where Bill Eucker was teaching. Eucker wrote an instrumental he called “Pink Dominos”, which would become the first of three singles by the Crescents on Break Out Records. Oddly each of the three releases has a different artist name, even though all are by Chiyo & the Crescents.
The only single on Breakout not by Chiyo and the Crescents was by the Dar Vons: “Hot Pepperoni” (obviously trying to cash in on the Dartells “Hot Pastrami”) b/w “Bowling Alley Baby”. The Dar Vons or Darvons included Dave Bowers and previously were known as the Surftones – but I don’t believe this is the same Surftones that backed Dave Myers, that band included Johnny Curtis, Ed Quarry, Dennis Merritt, Seaton Blanco, and Bob Colwell.
Break Out Records discography
Break Out BBM-3/4 – Chiyo & the Crescents – “Pink Dominos” (Bill Eucker) / “Devil Surf” (Chiyo) (Sept. or October 1963) Break Out 105-A/106-B – Kresents – “Purple Checkers” (Bill Eucker, Dimondaire Music BMI) / “Maple Syrup” (Chiyo) (February, 1964) Break Out 107-AA/108 – Dar Vons – “Hot Pepperoni” (Steve Middleton, B. Peeler) / “Bowling Alley Baby” (Waldemar Mennigen – Jerry Jaye) produced by Moraga- B. Moon Break Out 111 – The Sundancers – “Devil Surf” / “Piki Teepee” (both by Chiyo)
Break Out was at least partly owned by Harold Moraga. Moraga also owned part of Dimondaire Music BMI, which published all the songs on Break Out.
The Crescents featuring Chiyo, Era 45 “Pink Dominos” – written by Bill EuckerKim Fowley bought the master for “Pink Dominos” and placed it with Era Records for a wider release, reaching #95 in Billboard on December 28, 1963 and reportedly climbing as high as #69 in early 1964. I read Ghoulardi used it on his show so it became an in-demand in the Cleveland, Ohio area.
Fowley controlled half the publishing for both sides through Room Seven Music, BMI. The flip side “Breakout” is credited to Moon and Moraga and even though Chiyo’s name is on the label, this sounds like a different group using a cheap organ sound.
Despite the success of the single, the two follow ups on Break Out were recorded under different band names. The Kresents single features a song Bill Eucker wrote called “Purple Checkers”, while the band remade “Devil Surf” with saxophone under a new title, “Maple Syrup”. As the Sundancers, they do yet another version of “Devil Surf” with “Pink Teepee” on the flip. BMI shows he wrote a song called “Torment” during this period, which seems to have gone unrecorded.
I wonder what Bill Eucker was doing in the two or three years between writing for the Crescents and recording the Colony single. It’s also a mystery how “Pink Teepee” shows up on the flip to the Two of Us single, as there doesn’t seem to be any overlap in publishing or production between the Break Out and Platter labels.
I find no more credits for Bill Eucker until 1972, when he turns up playing guitar on the John Henry Kurtz LP Reunion on ABC Records. That record that contains the original version of “Drift Away”, a later version of which continues to be heard in supermarkets across the country.
Thank you to Dick Blackburn for adding the Dar Vons to the Break Out discography. Thank you to Chuck Keever for suggestions about the order of release.
“Breakout” – credited to the Crescents, but sounding like another group altogether.
Considering the names on the labels of this 45 and the quality of single, it’s amazing how obscure this group called the Buffaloes seems to be. I knew nothing about the group except for their last names and first initial until Mike Kuzmin contacted me with additional copyright information.
The A-side is the jangly blaster, “She Wants Me”, written by George Schwartzkopf, Jr of Old Bridge, New Jersey. It’s a catchy song and I could imagine it being a hit, but seems to have missed. The flip is a ballad written by Arthur V. Walker of Sea Cliff, NY, on Long Island, “You Told Me Lies”. The copyright name for correspondence or refund is listed as Joel E. Shenton of Glen Cove, NY. Both songs published by Impression Music, BMI.
The Buffaloes may have had the first release on the GMC label. Gene Moretti founded the label; he had been director of international sales for MGM-Verve in 1964 after starting in the mail room of ABC-Paramount (according to Billboard).
Joel Shenton contacted me in July 2021 and kindly provided info about the band, GMC and Mayfair Studio.
The band:
Arthur Walker – lead singer / rhythm guitar George Schwartzkopf – bass James (Jimmy) Wolf – drummer Joel Shenton – lead guitar, vocals, keyboard
I met Jimmy during high school years, late 50’s, through a mutual friend who got me interested in guitars. We fooled around as a 3-piece instrumental group until college interfered. I met George, a guitarist, at college. We formed a 4-piece group and played frat parties pretty much every weekend using various drummers including Jimmy, who was at school a few miles away. George decided to play bass, and we recruited a classmate to play rhythm and sing leads. That began our addition of vocals to our group.
After college and eventual return to Glen Cove, Jimmy introduced me to Arthur (“Artie”), and George, although living in New Jersey, joined up and we became the Buffaloes and played a few local clubs.
Gene Moretti lived near Jimmy, got interested, and that was the link to GMC. Gene had a few other musical groups as well, including the “Gumdrops 2”, a girl duet. We backed them up for a few gigs, and Jimmy eventually married one of the pair (Joan) who later became a vocalist for some Buffaloes numbers.
The link to Mayfair came from George. He got married while in college, and his wife was Clair Krepps’ daughter. Clair, at that time, had his own mixing studio (Knickerbocker Sound) on E47th Street in NYC, where he did subcontract mixing and overdubbing for several major NY studios. George and I had access to Knickerbocker and fooled around there on weekends during our summers off from college. Clair eventually formed the Mayfair organization in the theater building of the same name, adding multiple live recording and mixing rooms.
Mayfair was unique when it came to equipment. The control room was designed and built by Clair’s brother (I think) who had an electronics manufacturing company in Chicago. Nothing was conventional, and it became a testing ground for Ampex and Sennheiser. I recall Clair showing us one of the first 8 track and 16 track tape machines he used for recording, provided by Ampex for evaluation. The wall in the main control room was autographed by many well-known artists with comments like, “Fantastic sound,” “Wonderful experience”, etc. I think Sinatra, Streisand, the Stones, and even Hendrix were among the signers.
After the release of our first & only 45, and doing some club work, it became clear to us that our musical future was going to be more for fun than for a career path. We all had decent day jobs, and there was no economic security at our level of dedication and talent. We continued to play for fun, made several demo discs for posterity, but peddling them was rather futile even though we had contacts at UA and Decca.
We went our separate ways in the early 70’s. Jimmy and Artie wound up in Florida, George stayed in NJ working as a chemical engineer, and I moved to upstate western NY to run a plastics factory.
Although it has little to do with the Buffaloes, my interest in guitars and playing continues to this day, although my focus changed from R&R to country music…mostly due to the interests of the local population…and I currently enjoy playing lead guitar for several local bands.
[editor’s note: I’ve changed the spelling of Krepps’ name to Clair from Clare.]
Gene Moretti’s GMC Records announced in Billboard, April 2, 1966
Gene Moretti and GMC Records “a Division of Go-Go Music Corp”
The April 22, 1966 issue of Billboard noted how Gene Moretti would be managing and recording six acts for his new label: “Moretti’s approach is to rely exclusively on the copyrights owned by Impression and draw talent primarily from the three million population Long Island area. All six acts, in their teen and early 20’s, are local boys and girls.”
Billboard announced the Gumdrop 2 would have the first issue on GMC, “Getting Over You” / “So I Try”, numbered GM 10001, However, the Buffaloes single, dated to October ’66 in Teen Beat Mayham, is numbered GM 10000. GMC had about fifteen releases in total, featuring a dozen artists including Priscilla Price, Tony Kaye, Johnny D., Doreen Rose, the Miller Sisters, the Islanders, the Spoilers, Frankie ‘Slim’ Summerville, and Frankie Gracie & the Plastics.
Mayfair Studios
Another interesting connection is the studio, listed as Mayfair Studios (8 Track). Clair Krepps had been a recording engineer for Capitol, MGM and Atlantic Records and also did a lot of stereo percussion albums for Audio Fidelity. About the same time Moretti started GMC, Krepps began Mayfair Recording Studios at 701 Seventh Ave in Manhattan. Other clients would include the Velvet Underground, Al Caiola’s Caiola Combo All Strung Out LP on United Artists, Nico, the Chameleon Church, the Ultimate Spinach, the Beacon Street Union, Puff, Galt MacDermot, Ricardo Ray, Jimi Hendrix, the Mothers of Invention, etc.
Thank you to Joel Shenton and Mike Kuzmin for their help with this article.
If anyone has a photo of the Buffaloes, please contact me!
The Atlanta Vibrations have the first single on the short-lived Sim-Cor label out of Atlanta, Georgia. “If You Let Me Love You” / “My Hometown”.
Members included:
Woody Turner – lead vocals, guitar Spencer Kirkpatrick – guitar Bob Giannoni – bass Charles Lunsford – guitar Ricky Wafford – drums, replaced by Tom Sims
Both songs of their 45 are good but I find “If You Let Me Love You” the most catchy and well done. Woody Turner wrote both songs, published, as all on Sim-Cor by Bold Lad Music, BMI.
I haven’t found out much about the band yet, except that they had a spot opening for the Beatles during their 1965 tour. The band continued with a different lineup into the late ’60s.
After leaving the Atlanta Vibrations, Woody Turner joined the Apolloes for a period, but I don’t believe he’s singing on their singles. Spencer Kirkpatrick would later join Hydra, who had two LPs on Capricorn and one on Polydor in the ’70s.
Photos and much of the info on the Atlanta Vibrations came from the Atlanta Bands Facebook page.
Sim-Cor discography (any help with this would be appreciated)
Sim-Cor 101 – The Atlanta Vibrations – “If You Let Me Love You” / “My Hometown” (NRC #385, April 1966) Sim-Cor 45-102 – Robby – “People Ain’t Going Nowhere” / “I Don’t Want to Leave” (both by Robby Barnes for Bold Ladd, BMI, NRC #405, 1966) Sim-Cor 492 – Ann & Anne – “I Met a Man” (Ann Ford) / “Beyond the Sea” (NRC #492, 1966) Sim-Cor 45-003 – Imposters – When You Say (Kenneth Gowan) / Please Please (NRC #543, 1967)
The NRC numbers at the top of each label indicate Sim-Cor was one of the many Georgia labels that pressed at the National Recording Corporation’s pressing plant.
The Atlanta Vibrations, notice Sounds Incorporated drum head in the background
Here are two obscure singles that seem to have been recorded in one session on the same day, apparently March 12, 1965. Both feature the Mockers, and each was released on the Monte-Vista label and numbered 3-12-65.
The first features two surf instrumentals: the atmospheric “Children of the Sun” backed by a first-rate surf-rocker “Madalena” with crunching wet guitar. Both songs were written by David Norgord for Monte-Vista Music BMI.
Dave Norgord of the Mockers, photo courtesy of John Morgan
The Mockers were obviously a very competent group, and may have come from Glendora High School.
The second single has them backing what sounds like a prepubescent lead singer, Chris Parry, on another single written by Dave Norgord, “I Need You Now”. The flip is a cover of “Angela Jones”, written by John Loudermilk (composer of “Tobacco Road”).
A comment from Nancee (Norgord) Vincent, below lists two more names of the Mockers:
Dave Norgord was my brother. Bobby Figueroa was on drums and Jimmy McGrew played bass. Both Bobby and Jimmy became professional musicians. Jimmy passed away October 2918. Dave passed away July 2005. Bobby is still alive and should be easy to find. Chris Parry was quite young, English at a time the “English Invasion” took over pop music.
The producer was Dale Smallin who in 1963 managed the Surfaris’ and brought them to Paul Buff’s PAL studio in Cucamonga to record “Surfer Joe” / “Wipe Out” (Smallin also contributed the maniacal laughter to the opening). Smallin may have lost the Safaris when he and Dot Records brought in the Challengers to record tracks to fill out the album. In any case, the Mockers may have been the only records after the Safaris to feature his name as producer. If there are others, I haven’t found them yet.
Monte Vista Street runs in Highland Park in Los Angeles, not far from the Glendale origin of the Safaris. Smallin would name his film production company Monte-Vista and produced a 28 minute movie show in West Covina, The Day That Sang and Cried in 1968, featuring another band, The West Coast Blues Company. Dave Smallin died on March 1, 2011.
The Rocking Continentals, with Bill Doyle on drums. Photo courtesy of Bill’s daughter Tracy.
The Rockin’ Continentals made two 45s for the Casino label in 1962 or 1963. The group came from Topeka, Kansas.
The original group were:
Johnny Thompson – lead guitar and vocals Melvin Ralston – rhythm guitar Chuck Dumerous – bass Bill Doyle – drums
Rockin’ Continentals and the Fabulous Concepts at Township Hall in Valley Falls, August 10, 1963.The Rockin’ Continentals’ first release was a great rockabilly song with fierce drumming and scorching guitar and piano breaks called “The ‘309’”, written by Johnny Thompson. The singer has a strong southern accent that doesn’t appear on their other songs. The original A-side was “2-3-4”, written by Melvin Ralston, which in comparison is simple riffing on blues changes.
Bill Doyle was 17 when he joined the group, and left the group near the end of 1963, when he married. Chuck Dumerous seems to have left the group around this same time.
The second version of group were:
Johnny Thompson – lead guitar and vocals Melvin Ralston – rhythm guitar Chuck Smith – bass Bob Stanley – drums
The Rockin’ Continentals second and last single was “Cobra 289” written by Ralph Sandmeyer in tribute to the Ford/Shelby AC Cobra sports car first manufactured in 1962. Bob says that “Ralph Sandmeyer was a songwriter and close friend of Johnny Thompson”.
“Count Dracula” is mainly instrumental with a spooky reverbed riff. Like “The ‘309’” it was written by Johnny Thompson.
Bob Stanley wrote to me:
I was the drummer for the Empalas band back in the early 60s. Melvin Ralston, the rhythm guitar player, wanted to know if I would drum for the Rockin’ Continentals. We began playing throughout Kansas for VanT car shows during the day and in the night we would play in their parks or auditoriums. From there we played the Municipal Auditorium in Topeka, Kansas City auditoriums and various other cities.
I am playing drums on “Cobra 289” and “Count Dracula”. My stepfather financed the record and was repaid with the sales. Bob Bobo was the piano player on the record. Bob Bobo was not a member of the band but did guest appearances on the records on piano and recorded the records in his studio. Johnny Thompson played lead guitar and is the vocalist on both songs, Chuck Smith was the bass player. Melvin Ralston is the rhythm guitar player and is the laughing voice on “Count Dracula”.
The girls screaming in the background were girlfriends of the band members. The girls later bleached the band member’s hair. Mine turned out platinum because I was blonde, but Johnny’s turned out orange red, which made him extremely unhappy. It was comical, but not to him.
I did know the Jerms and their lead singer Bill Senogles who was a classmate of mine and later took on my guitar player, Russ Wilcox, from the Empalas when I went to the Rockin’ Continentals.
Bob Stanley left the group for Vietnam. In later years, the Continentals had regular gigs on cruise ships.
The Good Time Trio: Kenny Stone, Johnny Thompson and Bob Stanley
Bob added:
Later on country became popular and Johnny started switching over and we became the Good Time Trio (Johnny Thompson, Kenny Stone on bass and me on drums). I also drummed for Dickie Lee (“Patches”) in Kansas City.
I still have the snare, sticks and drummer’s throne that I played when we recorded the records. At the end of “Cobra 289”, you will hear a drum run and fade out done with single stroke roll with rim shots.
Special thanks to Bob Stanley for contacting me with information on the Rockin’ Continentals.
Both Rockin’ Continental releases have been bootlegged, along with another Casino release, the Argons’ “Do the Dog”.
See my article for more information on the Casino record label. Thank you to Volker Houghton for contributing the Valley Falls show ad.
comparison of original pressing to bootleg reproduction of Casino 1010, the Rockin’ Continentals “Cobra 289”
Gerald Dyche (aka Jerry Dyke) in the Emporia Gazette, February, 1958
The Casino Records label started in 1957 with a single of Jerry Dyke singing two songs written by Bob Bobo and Carl Lewis for Southern Belle, BMI, “Deep Within My Heart” and “My Empty Heart”. That release, Casino 1001/1002 had a gothic style font for Casino and an address on McGavock St. in Nashville, Tennessee.
In a comment on the Rockin’ Continentals page, Jerry Dyke notes that he designed the original Casino label.
An article in the Emporia Gazette from February 1958 discusses how Jerry Dyke was the stage name for Gerald Dyche, a student from Topeka who was singing songs written by Topekan disc jockey Bob Bobo for demos to be sent to Southern Belle publishing in Nashville, which led to the Casino single, presumably recorded in Nashville. Although the article makes something of the Casino Recording Corporation of Nashville, Bob Bobo and Carl Lewis were at least part owners of Casino. They produced the Jerry Dyke single on their own hoping for attention for their song writing.
Bobo seems to have recorded all the Casino records in the basement of his house on SE Ohio Street.
Dyke does not seem to have worked with Bobo after this single. Bobo started working with Ronnie Pearson of Osage City. Pearson’s first single on the Herald Label in April of ’57 included Bob Bobo’s song “Hot Shot”.
Bobo would place other songs in the late ’50s, including “I Close My Eyes” (co-written with Lewis) for the Wilburn Brothers on Decca in August of ’57, “The Answer” and “Warm as Toast” (co-written by Lewis) for Russ Veers on the Trend label, and “Let Me Go to the Hop” (co-written by Russ Veers) by the Sweethearts on Power.
By the early 1960s, Bobo seems to have stopped pursuing a career as a song writer, but kept the Casino label active. I don’t know what Casino 1003/1004 is, but 1005/1006 is the Nubbins doing two standards, “The King’s Highway” / “Stormy Weather” with a different font for the logo and no address.
The Rockin’ Continentals “The ‘309’” from 1962 is numbered 1007/1008. This and all future release feature Kansan artists; there is no longer any Nashville connection that I know of.
Casino 1001/1002 – Jerry Dyke – “Deep Within My Heart” / “My Empty Heart” Casino 1003/1004 – no release (?) Casino 1005/1006 – The Nubbins – “The King’s Highway” / “Stormy Weather” Casino 1007/1008 – The Rockin’ Continentals – “The ‘309’” / “2-3-4” Casino 1009/1010 – The Rockin’ Continentals – “Cobra 284” / “Count Dracula” Casino 1011/1012 – The Argons “Spiked” (Bryson, Myers) / “Do The Dog” (Mikkelsen, Wilcox) 1964 Casino 1321/1322 – The Jerms – “That Word” (G. Senogles) / “Love Light” (Sept. 1965) Casino 2305/2306 – The Thingies – “It’s a Long Way Down” (L. Miller, Dalton) / “Merry Go Round of Life” (August 1966)
One interesting oddity about the Casino discography is that the RCA code for the Jerry Dyke single, HO8W-0066/67 would be adapted for later releases, even though most later releases were not pressed at RCA but at Wakefield Manufacturing in Phoenix, AZ. Another code on the 45s, 2 AFM also increases with each release, though I’m not sure the meaning of that code.
Bobo also owned a restaurant called Bobo’s Drive In in Topeka from 1948 until he passed away sometime in the 1980s. Bobo’s Drive In remained open under that name until recently.
Buddy’s Buddies came from Macon, Georgia, home to Otis Redding and Little Richard, but a town that had relatively little ’60s band action. The Malibus who cut “I Want You to Know” / “I’ve Gotta Go” on PJ came from nearby Fort Valley, GA but that’s about it.
Buddy’s Buddies included:
Buddy Greene – lead vocals David Gory – lead guitar Phillip Parker – rhythm guitar Andy Waits – bass guitar Steve Kent – drums
Early version of the group with Starlight Swingsters drumheadThe Flying Beatles?! An early version of Buddy’s Buddies, from left: Buddy, Steve Kent, Andy Waits and Phillip Parker
Phillip Parker kindly sent in the photos seen here and wrote to me about the group:
Buddy and I began to play ukes together around 1962 or ’63. I remember Buddy calling me one Saturday morning and telling me to come listen to a record his older sister had brought home. We must have played the grooves off Meet the Beatles trying to learn the songs. We began by playing at a local drugstore off Riverside Dr. in Macon.
We then got Steve to play bongos. Andy was a friend of mine who had a guitar so joined and brought with him David Gory who played lead. He had a great sunburst Gibson. Andy wound up playing bass and I played rhythm guitar.
We played at the Macon Auditorium with Herman’s Hermits, the Beau Brummels, Freddie and the Dreamers and the McCoys. We were young, about 10-13 years old.
The article about getting a traffic ticket with Cassius Clay came from the Macon Telegraph. We were on our way to play at the Big Ape radio show in Jacksonville. My family moved to SC in 1966 and I did not return till 1967. I’m not sure how long they played together after I left.
Of course Buddy went on to be a great musician and song writer and I did hear somewhere that Steve played drums. He was a great drummer.
Phillip Parker May 2017
Buddy Greene wrote both sides of their only single. I really like “Tell Me What I See” with its solid back beat and bass line, repetitive piano and Buddy’s shouts of “mercy me!” The flip “I Love My Baby” is a ballad, with a plaintive vocal from Buddy.
The Macon label released Buddy’s Buddies single in July, 1965, published by Macon Music BMI. The only other release on Macon that I know of is Phil Gandy singing “Hula Baby” / “Rainbows End” both by Phil Skelton for Cedarwood Music BMI from circa 1964.
Buddy Greene went on to a long career in music. See his website, www.buddygreene.com for extensive information about his career, including additional photos of Buddy’s Buddies.
Thank you to Phillip Parker for the information and photos on the group. I’m sorry it took me over two years to add these to the post.
Harley Bowers time out…. column had this amazing story:
What A Way To Meet Clay
A group of Maconites, nine to be exact, have something in common with Cassius Clay. They were all stopped by the same Florida highway patrolman at the same time and place last Saturday, and for the same reason – speeding.
It all started as the Maconites, traveling in two cars, were en route to Jacksonville. Five of those riding in the two automobiles were youngsteres 11 to 13 who make up the local singing group known as “Buddy’s Buddies. They were being driven to Jacksonville by Mr. and Mrs. Henry Parker (in one car) and Mr. and Mrs. Junior Waits (in the other car) for a radio appearance.
The young singers included Steve Kent, Buddy Greene, David Gory, Andy Waits and Phillip Parker. As they crossed into Florida, this side of Jasper, the two cars passed a pair of Cadillacs stopped along the side of I-75.
One of hte boys, Any Waits, called out to his father, who was driving the car in which he was riding, that he was sure he had recognized Cassius Clay among the four people standing around the Cadillacs. The elder Waits dismissed the idea and drove on.
A few minutes later the two Cadillacs came flying by the Maconites and young Andy again declared that one of the occupants was the heavyweight champion. Upon the urging of the boy the father set out to catch the speeding Cadillacs just to satisfy everyone’s curiousity as to who was inside.
Patrolman Nabs ‘Em All
Waits flew past the Parker auto and Parker, not knowing what was going on, took out after him. They eventually caught up with the Cadillacs, pulled alongside, and sure enough, there was Clay. About the same time Waits noted in his rear view mirror that a highway patrolman was chasing the whole group.
The patrolman flashed ahead of all four autos, then flagged them down one at a time. He told each driver he could either pay a $25 fine, Waits said, or come back to court. Ali preferred to pay but as Waits started to hand the patrolman his money he made the remark that he was going to have to blame his son for wanting to catch up with Cassius.
Clay, overhearing this, was so impressed he paid half the fines of the Maconites. Then he signed autographs for everybody while one of the men accompanying him took a series of pictures. “I assumed it was one of his press agents,” Waits explained.
Cassius reported to the patrolman that he was en route to Miami to begin training for the Floyd Patterson fight and thank the officer for being so nice. “He was real proud of those Cadillacs,” Waits said.
“In fact, he explained to us that they were the same type of automobiles that President Johnson drives and cost $16,000 each. They were even equipped with telephones. We found Cassius to be real nice and there was none of this loud bragging that you read so much about and see so much of on television.”
Early lineup of the King Pins, 1962, showing piano and saxophone
94 Second Surf – first version with girl chorusThe King Pins came from Sandia High School in Albuquerque, New Mexico. Though they recorded in 1965, they were an instrumental group, not at all ‘garage’ but I dig this record.
Members were:
Steve Maase – lead guitar Gary Shouse – rhythm guitar Rob Cardin – bass Larry Kuck -drums
In August 1965 they released a 45 “Rod Hot Rod” / “94 Second Surf” on Larse 101, recorded at Norman Petty’s studio in Clovis, NM. The group’s manager Bill Sego, a DJ on KCLV in Clovis, wrote the top side “Rod Hot Rod”. This song has its fans but Steve Maase’s original “94 Second Surf” commands the most attention nowadays.
MGM picked up the single for a national release in November 1965. “94 Second Surf” is retitled “Door Banger” on the MGM 45, but there is a difference. The Larse single features a female vocal chorus on both sides, while the MGM leaves it off completely on “Door Banger” and cuts the vocal intro on “Rod Hot Rod” but keeps the rest of the vocals.
Larse was Bill Sego’s label but I don’t know of any other releases on it. Prior to managing he had his own single on the Nor-Va-Jak label “Down From The Clouds” / “Come Along Dolly”. When he ran for the New Mexico Senate he reissued “Doorbanger” on the flip side of a campaign message with the motto “We Go Sego” on the labels and sleeves.
Steve Maase joined Lindy Blaskey and the LaVells, playing the wicked lead on their Space single “Papa-Oom-Mow-Mow” (on the flip, “Would You Believe” Lindy shouts out “Hey Steve, would you believe …” after the guitar break), and on “You Ain’t Tuff” / “Let It Be”. In the early ’70s, Steve formed a band called Tala, and then played with Linda Cotton and Sparxx, among others, while composing his own music and becoming a well-respected music teacher. Steve Maase passed away on October 1, 2016.
Thank you to Lily Maase for sending in the photo of the King Pins and for informing me about her father’s career after the King Pins.
King Pins, January 1964Announcement of King Pins signing with MGM, November 23 1965
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
Despite the band members’ names on the label, this group is still something of a mystery. Members were Doug Dehart, Ron Riddle, Jim Frizell, Don Jones, and Ray Reade.
