Category Archives: Vardan

Frantic Records, Vardan Records, and Arvey Andrews

Business card for Psycho, from Chico, with Guy Williamson and Marty Howard’s contact info

Arvey Andrews headed two record labels in 1965 and 1966, Frantic Records and Vardan Records. He was also part of Management By Martin, Inc., with George Martin and Robert Clark. George Martin co-produced some of these singles and handled bookings for the groups.

In 2020 I bought a collection of records and 1/4″ tapes that belonged to a previously unknown investor in Management By Martin. I am not disclosing his name at this time, but he is now in his mid-90s. He was a colonel in the Air Force, and obviously a music enthusiast. One could map his likely military postings from his record collection: Ty & Johnny on Red Wing suggests Eglin Air Force Base near Pensacola, FL, and Wailers & Sonics records obtained while stationed at McChord Field near Tacoma.

At Beale AFB in Yuba County he met Arvey Andrews, who would involve this officer in his Frantic and Vardan operations. It would be a fruitful but one-sided association. This investor would describe his dealings with Andrews in an Air Force Statement of Witness dated March 2, 1970:

… while stationed at Beale AFB, California I became a stockholder in a corporation known as “Management by Martin, Inc.,” a firm which handles bookings and recordings by “rock and roll” groups. Other members of this corporation at its inception were Captain Arvey I. Andrews (hereafter called Subject), George Martin and a Robert Clark. I contracted a law firm known as Athearn, Chandler and Hoffman, 593 Market Street, San Francisco California to represent me and to establish the corporate structure of Management by Martin Inc. I am the Secretary-Treasurer of this corporation …

I noted that shortly after Management by Martin began to move forward that certain high expenses at Ikon Recorders … as well as fees paid to Lance Associates, a “public relations outfit,” might cause the business to fold… I told the other partners of the corporation that I would remain as a corporation officer but would no longer make financial contributions to the corporation’s support. Also, at this time, I told Subject [Andrews] that he must commence paying back the indebtedness. At that time, I believe it was the spring of 1967, Subject repaid me $100.00 a month for three consecutive months and stopped shortly thereafter. I told Subject that if he did not continue with the monthly payments, I would resort to legal action to recoup the loaned monies. Shortly after this, I became knowledgeable of Subject’s filing for bankruptcy.

These unfortunate transactions seem to have ended this investor’s involvement in the music business, though he continued to collect records and radio shows into the ’70s.

This Management By Martin, Inc ad ran in Billboard every week from April 30 – July 30, 1966
The bankruptcy probably harmed Arvey Andrews as well. He remained involved with the Lovers as they changed their name to the Pacesetters and signed to Liberty / Minit, but I don’t believe he produced or released music again. Andrews would reach the rank of major by 1970, before retiring from the Air Force. On May 12, 1982 Andrews incorporated the Vardan Recording Institute of America at 1108 Black Knight Drive in Valrico, Florida, but I know of no releases from this company. Arvey Isaacs Andrews died on April 5, 1994, aged 59.

In the collection were at least one copy of every Vardan and Frantic single except Sonny Oliver & the Statics on Vardan, and the Boy Blues “Coming Down to You” / “Living Child” on Frantic. Most of these were promo copies, and there were multiple stock and promo copies of the Boy Blues “Living Child” / “Think About It Baby” on Vardan. There were Emotions singles on Gate and Philips as well as the Vardan issue.

There were also a couple 45s on Ikon. Along with Golden State Recorders in San Francisco and Sountronic Recording Studios in Lodi, Arvey Andrews used the Ikon studio, but I do not believe he was involved in any releases on that label.

Many of the records have warping and/or insect damage from years stored in an attic.

The Lovers “Leave Her” test pressing

Below is a description of the unique items:

The Lovers unreleased test pressing

Most notable among the 7″s was a styrene test pressing of two unreleased songs by the Lovers, “Leave Her” / “The E.T.”, numbered 2125 / 2126. For some reason Andrews did not release that single, and those numbers appear on the Styx single “My Girl” / “Stay Away” on Frantic Records CR-2125/CR-2126.

Test pressing for Psycho’s “You Think You’ve Got Me” / “Need Me”, released on vinyl as Frantic Records CR-2127/CR-2128

Psycho test pressing

There was also a styrene test pressing for Psycho’s “You Think You’ve Got Me” / “Need Me”, released on vinyl as Frantic Records CR-2127/CR-2128. The dead wax codes are in a different hand than the released version, though the versions sound identical.

Both test pressings are stamped June 13, 1966.

Also included were two test pressings of Custer and the Survivers, “I Saw Her Walking” / “Flapjacks”, which saw release on Golden State and Ascot. Production was by Shower Of Stars, another company of George Martin and Arvey Andrews with a Yuba City address.

Golden State acetate 45 of Psycho “Need Me”

Psycho acetate, and “What’s in the Bag, Goose” demo

Also in the collection were two acetates. One is a Golden State Recorders acetate 45 of Psycho “You Think You’ve Got Me” / “Need Me”; same versions as the released single. The Psycho business card at top was found in a tape box.

Audiodisc acetate 45 of “What’s in the Bag Goose”

The other was an unlabeled Audiodisc acetate with one song, “What’s in the Bag, Goose”. This cut also appears on two other 1/4″ tapes, one dated January 22, 1966. Apparently Drusalee and the Dead cut “What’s in the Bag, Goose”, however, there is no organ on the cut, and it doesn’t sound much like their Vardan single. Hear an excerpt.

The song is a novelty take on a Granny Goose potato chip commercial, with song writing credits to Nick DeCaro, Dave Pell, and Joe Saraceno. I like this performance more than the only released version I know of, from the T-Bones LP, No Matter What Shape (Your Stomach’s In).

Sountronic Recording Studios sheet in tape box compiling Frantic masters by the Lovers, Mystic, Boy Blues and D. Witherspoon

Sountronic Recording Studio tape

One of the tapes had ten songs compiled from the master recordings in either mono or 2 track stereo, according to an info sheet from Sountronic Recording Studios at 880 East Pine St., Lodi, CA. Dated September 22, 1966. Included are the A and B sides of four singles from the Frantic label: The Mystic’s “Weekend People” / “I Get So Disgusted”, the Boy Blues “Coming Down to You” / “Living Child”, and D. Witherspoon and the Future, and the Lovers “Without a Doubt” / “One Way to Love”. Also included are two songs by the Lovers with the Harlem Brass that never saw release: “She’s Supreme” / “Truly Truly”.

“She’s Supreme” has only been known on acetate. “Truly Truly” is a backing track without vocals. Alec Palao tells me it is the same backing track used on a rare single by the Kashos on Work Records 45-827, which I haven’t heard. Stanley and Archie Casher wrote that song, and possibly the backing track was reused from the Lovers session.

Joey D. told me that this is the first documentation from the Sountronic Studio that he has ever seen. This tape may be the only tape source for these songs in existence.

Tape box with unreleased cuts by Boy Blues, Psycho, and Drusalee & the Dead

Tape of unreleased songs

Another interesting tape was faintly labeled in pencil with only band names, but contains unreleased songs by the Boy Blues, Psycho and Drusalee & the Dead.

The Boy Blues cuts are both originals. The best, titled possibly “Baby Doll”, has a fuzz riff, tasteful use of horns, an extended guitar break and double-time ending.  “Little Red Rooster” is not the Howlin’ Wolf standard but a light original with a more prominent horn arrangement.

The Psycho cut is “That Girl”, a good jangly original song with excellent harmonies.

The last two cuts are “What’s in the Bag, Goose”, as discussed on the Audiodisc acetate above, and a ballad. Although the tape box suggests Drusalee and the Dead, neither song sounds like the Vardan single.

Audio quality and occasional drop-outs suggest this tape is a later generation copy.

Stereo rehearsal tape by Psycho
Mono rehearsal tape by Psycho, the two original songs are early versions of “That Girl” and “You Think You’ve Got Me”

Psycho rehearsal tapes

There are two rehearsal tapes by Psycho. The first contains all cover songs, and is recorded in stereo. Two songs featured on the Up From the Grave CD were taken from a cassette in mono, so this tape is an upgrade.

The second tape is in mono, but includes a couple of originals as well as more cover songs. There are two takes of “You Think You’ve Got Me” titled “Why Can’t You Say” on the tape box. The vocals are upfront; the band’s harmonies are very good at times. I appreciate hearing these early versions, even with some rushed tempo changes.

The other original is “My Girl” perhaps more appropriately titled “Without That Girl”, which did not appear on their Frantic single.

They do a good job on many of the cover songs, and it’s cool to hear them try “It’s No Use.” The singers forget a line in the last verse of “Turn Turn Turn”.

Lastly, there’s a tape of a folk group with vocalist Sandy Knox, recorded at Ikon.

———-

Members of the bands mentioned in this post (sources include notes to Up From the Grave and 60sgaragebands.com):

The Emotions & Lovers (Beale AFB): James Gregory (Greg), Daniel Saunders, Melvin Williams, McHenry Otis (Mike), and Bob Coleman

Psycho (Chico): Bob Williamson, Marty Howard, Jim Conley, Ron Murphy and Randy Reaves

Boy Blues (Chico): Jim Conley, Randy Reaves, Rick Wagner, Bob Brien, Mark Cipolla, Chris Howard, John Palmer, and Jeff Gadbois

Drusalee & the Dead (Marysville): Drew Sallee, Ernie Apodaca, Bob Covic, Bob Rathbun, Gordon McCollum, and John Piper

Statics (Marysville): Sonny Oliver, Freddie Bidasha, Johnny Rollins, Frank Lester

Custer & the Survivors (Oroville): Gary Gibson, Jodell Bruce Payseno (Jody Payseno), Mike McLoughlin, Bob Blade, Martin Blade, Richard Daugherty, and Claire Hinton

Mystics (Boise, Idaho): Tim Woodward, Vance Shirley, John Hynes, Rich Smith, and Dennis Schaffner

Custer and the Survivors Management By Martin promo photo

Thank you to Gary Gibson Jr. for sending in the photos of his father’s band, Custer and the Survivors. The group cut two unreleased songs at the same Los Angeles session as “I Saw Her Walking” and “Flapjacks”, including “With Love in Her Eyes”.

Custer and the Survivors photo
Custer and the Survivors, Custer with the goatee, second from left. Other personnel unknown.

The Boy Blues

Updated December, 2009

The Boy Blues came from Chico, and released two 45s in February 1966 and 1967.

This article is superceded by the release on CD of ‘Up From The Grave’ on Frantic Records (the reissue label, not the original Frantic label based in Universal City), which has all four songs they recorded in incredible sound quality, plus an extensive history of the group including some outrageous stories of baby food and a drug bust that I won’t repeat here. Get the CD to read the full story and hear 30 tracks by a number of Sacramento Valley bands. I recommend it highly.

Below is a brief history of the group:

The Boy Blues started out of a band called the Disciples, with Mark Cipolla on guitar and vocals, Jim Conley on lead guitar, Randy Reaves on bass and Rick Wagner on drums. Bob Brien joined to share rhythm guitar and vocal duties with Mark Cipolla, and then the band changed their name to the Boy Blues. Conley left and Chris Howard joined as lead guitarist.

They met their manager George Martin at a battle of the bands in Marysville, and in early ’66 he brought the band into Ikon Studios in Sacramento to cut their first 45 for release on the Vardan label.

The top side “Living Child” would be re-recorded in a much different arrangement for the b-side of their second 45. Most people prefer the Frantic label version, mainly because it has distorted guitar throughout instead of horns. Still, I wouldn’t dismiss the Vardan version, it’s faster and tighter, and even if the horns are superfluous, they add some dissonance to the chorus.

The b-side of the Vardan 45 is another good Bob Brien song, “Think About It Baby”, with a thick layer of horns arranged by Arthur Wright. I like this one as well, especially the Byrds-like guitar solo. The squeak of the bass drum pedal is really noticeable, especially in the introduction.

Would this be a better 45 without the horns? Maybe – it definitely would have had a more typical garage sound, but the horns don’t ruin either cut for me.

A drug bust in Novato got the band on the front page of the San Francisco Chronicle, and led to the departure of Randy Reaves and Chris Howard.

The band heard John Palmer playing while driving by his garage in Richmond, in the East Bay, where he had been a member of the Plague. The band convinced John to come up to Chico to join them as lead guitarist, and added Jeff Gadbois, who has since passed away, on bass.

The bust didn’t stop their popularity at live shows, nor did it dampen the expectations of George Martin, who brought the new lineup into Sountronics in Lodi for their second single.

‘Coming Down to You’ chugs along to the Batman theme for most of its three minutes, and features a great fuzz solo after its somewhat dreamy chorus. It was written by Bob Brien and Mark Cipolla. Some copies of this 45 were released with a picture sleeve that features the earlier lineup of the group.

John Palmer and Jeff Gadbois were with the group for about six months before departing to play a heavier type of music with Lincoln’s Promise. In the spring of ’67 John went back home to Richmond where he became a founding member of Savage Resurrection.

Cipolla moved to bass, while he and Bob Brien found new members Pat Varvel on drums, Ed Seymour on keyboards and Chuck Edwards on guitar and vocals. They changed their name to Colours and moved to the Bay Area for a new start. That period is documented in a two CD set also released by Frantic, but I haven’t heard it yet.

Arvey Andrews produced the Vardan 45, and co-produced the Frantic release with his business partner, George Martin, while they were stationed at Beale Air Force Base east of Yuba City.

Frantic had other good releases, including the Styx with ‘Stay Away’ and ‘My Girl’ (CR-2125/6), a group called Psycho with ‘You Need Me (CR-2128), and the Mystic ‘I Get So Disgusted’ / ‘Weekend People’. The Boy Blues might be the last 45 on the label.


Sleeve for their second 45 – but showing the earlier lineup of the group
anyone have a better quality scan of this sleeve?