The Missing Links have this one excellent 45 on Discovery Records, released possibly in October, 1965. The band is unknown. This record was erroneously listed as from Texas, but California is much more likely, as the Discovery label was from the Los Angeles area.
On the top side is “You’ve Got Your Rosies On”, a nicely produced tune where the singer makes it clear his girl shouldn’t expect much of him, while the girl’s voice chimes in asides like “too bad.” It was written by R. Jarrard and James Hilton and arranged by James Hilton, and published by Jarhill Pub. Co., BMI.
I never thought I’d make a record babe, but look at Sonny and Cher, They had something to say, now I’ve got something to say to you, Babe, you’re expecting too much, so take off your rose-colored glasses, See me as I really am.
You’ve got your rosies on …
Spend all day writing songs, changing worlds, righting wrongs, Everyday it’s ‘get a job’, but I can’t see this working hard, Ain’t me babe, that ain’t me babe..
Wear those funny way-out clothes, my girl says ‘what are those?’ What I am, no I explain, cause your ideas can’t make me change It’s me babe, ah it’s me babe.
Expecting things from a guy like me, causes problems can’t you see, Wear my hair mighty long, need that hair to sing this song to you babe, Just to you babe, oh yeah,
What I’m saying in this song, is maybe I’m right, maybe you’re wrong And just because my pockets are bare, that don’t mean I ain’t going nowhere. I’m going somewhere, oh yeah, I’m goin’ somewhere …
If you don’t want me you don’t have to come at all, But if you want me, you better take off your glasses babe, See me as I really am…
“They Say You Lie” is the opposite of the light-hearted top side. It’s a brooding song, with slashing guitar chords, pounding toms and self-pitying vocals that rise for the chorus “but they say … you lie, you lie”. The guitar solo has a matching intensity. It was written by D. Abrahamsen and N. Nissenson. Both sides were produced by James Becht.
Here’s an obscure 45 by the Fellowship, one side a version of Dylan’s “Just Like a Woman” with a full band, the other a more fanciful number with only acoustic instruments backing the vocals. “Palace of the King” was written by J. Treese, possibly Jack Treese, an american musician who had a long career in France.
One notable thing about this release is it’s on the Miramar label, most famous for releases by the Dovers. See the separate article on Miramar for more info.
Tony Cary produced all the Dovers 45s as well as the Road Runners, Nick Hoffman and Fellowship records on Miramar. He went on to produce the Alexander’s Timeless Bloozband Lp on UNI, released 1968 and Charles Lamont’s solo LP from 1969, A Legend In His Own Time.
This 45 came from a collection of 45s owned by Bob Buchanan, who co-authored “Hickory Wind” with Gram Parsons and played in the New Christy Minstrels for some time, as well as the International Submarine Band. Perhaps he played on this session? The other 45s in the collection were by the New Christy Minstrels, Brewer and Brewer, and Mike McGinnis.
Max Waller suggests there may be a connection to another Fellowship 45, “You Laughed At Me” / ? on Film Town 6169 from July 1969.
Thank you to Jason Sweitzer for help with information about Tony Cary.
Left to right: Dave Adams (16), Larry Adams (14) (brothers), Steve Ficklin (16), Ron Hale (17) and Bob Ficklin (14). Not pictured; Steve and Bob Ficklin’s younger brother, Brent (13) who joined the group shortly after.
Sanz, Inc released two 45s on the Skoop label, “My Baby’s Eyes” / “I’m Gonna Leave You” in December of 1966 and “I Just Want You” / “I’ll Never Forget” in May of 1967.
“I’m Gonna Leave You” starts with a catchy bass and drum rhythm, then the vocals and organ combine for a haunting effect. A fast organ sequence and a howling guitar riff open “I Just Want You”, which features a busy, popping rhythm. “I’ll Never Forget” is a slow ballad, very much an early ’60s doo wop vocal style.
Members were:
Steve Ficklin, vocals Bob Ficklin, keyboards Brent Ficklin, vocals Dave Adams, guitar Larry Adams, bass guitar Ron Hale, drums
Keyboard player Bob Ficklin wrote to me about the band and sent in the great photos you see here:
I was part of a band called Sanz, Inc. from Petersburg, Indiana. Sanz, Inc. was a popular group that performed in the tri-state area (IN, KY & IL).
We all attended the same high school (Petersburg High). The name Sanz was derived as a word play on the Sands Hotel in Vegas. The “Inc.” was added later.
We played many local street dances and teen centers in the area. Some other venues were a prom at the Sheraton Hotel in French Lick, IN; area county fairs; a political rally in Princeton, IN; Chieftain Restaurant, Lawrenceville, IL; several gigs at Lake Lawrence, also in Lawrenceville, IL; Teen Center in Morganfield, KY; among others. We usually played top 40 hits of the day and original material. Although there were a few other area groups, we were not acquainted with them and were never in competition.
“My Baby’s Eyes”/”I’m Gonna Leave You” was recorded in Santa Claus, IN, home of the first theme park in the U.S. (Santa Claus Land, now known as “Holiday World”) in 1966. Santa Claus, being about one hour away was the best opportunity for recording. “I Just Want You”/”I’ll Never Forget” was recorded on the same label in 1967.
On the way to record “I Just Want You”, we didn’t have “I’ll Never Forget” completed. So, we finished it in the car and recorded it on the flip side. All four songs were written by Bob and Steve Ficklin.
When recording “I Just Want You” and “I’ll Never Forget”, after the music and vocals (Bob and Steve Ficklin) were completed on the first track, Bob and Steve also added background vocal parts. We paid for the session times and the records that were pressed. Both projects were completed in a very short period of time (a matter of a few hours).
The records were played on several area stations in surrounding counties. “My Baby’s Eyes” received air play on WLS/Chicago. We did sell records at performances, at school and at a local retailer.
As older members of the band graduated the band dissolved. Larry Adams played bass with another area group for a time. Steve Ficklin sang with various gospel groups through the years and continues today. While in the Air Force, I sang with a couple of bands. In recent years I have sung with a local group and continue singing with a duet partner. Thanks for keeping the memories alive; it was a great era.
Bob Ficklin
Thank you to Bob Ficklin for sharing his photos and history of Sanz, Inc.
Dave Adams (left, playing guitar), brother Larry Adams (center, playing bass guitar), Ron Hale on drumsLeft-right: Steve Ficklin and Bob FicklinLeft-right: Dave Adams, Larry Adams, Ron HaleRon Hale (drummer in background), Brent Ficklin singing, Bob Ficklin playing keyboardLeft-right: Dave Adams and Larry AdamsSteve Ficklin
South African R&B/pop band, The Gonks were one of Durban’s leading groups in the mid-1960s. Formed in the summer of 1965, the original line up was put together by former Clansmen drummer, turned lead singer Craig Ross (b. 27 January 1946, Durban) and rhythm guitarist and singer Howard Schachat (b. 7 November 1949, Durban). The pair completed the line up with lead guitarist Noel McDermott (b. 31 March 1946, Durban), bass player Brian McFall (b. 26 December 1945) and drummer Rob Clancy (b. 2 May 1948).
Taking their name from a 12-inch high stuffed doll that was popular at the time, The Gonks’s first gig was at the Lido Resort (playing around the pool) in Umkomass, on the South Coast.
The Gonks’s first big break, however, took place in October 1965 when they played a show at the Journey’s End Moth Hall in Durban North. They then followed this up with a number of appearances at Durban City Hall, at the Al Fresco Terrace on Durban’s Bayside and at various South Coast resorts.
Signed to the Fontana label in late 1966, the band recorded its debut single, a cover of Mike Curb’s “You Can’t Stop Me Loving You” backed by the Edden-Cline-Schachat-Ross collaboration, “Crying My Heart Out”, which was produced by Graeme Beggs for Trutone and featured studio guests, Johnny Kongos, Pete Clifford and Peter Lotis. Issued on Fontana single TF 772 in November 1966, the band’s debut release climbed the South African Springbok charts and peaked at number 7 in January 1967.
The Gonks featured in Pop Gear, June of 1966
Interestingly, within weeks of the single’s release that November, the band had returned to the studio to record a follow up, a cover of the Isley Brothers’ “Nobody But Me”, backed by the Ross-McDermott co-write, “Woman, Yeah”, which was again produced by Beggs at Gallo’s studio in Johannesburg.
For reasons that remain unknown, Noel McDermott left the band immediately after this recording (and prior to the debut single’s success) to work briefly with his own group. In his place, the group recruited lead guitarist, Mervin Gershanov from The Mods, another local band, which featured several musicians that would join The Gonks throughout 1967. At the same time, bass player Brian McFall also departed (years later playing with Third Eye) and Barrie Cline from The Deans took his place. (Incidentally, Barrie’s brother Dave was a member of The Mods.)
The reconstituted Gonks line up made a notable appearance at Durban City Hall for a Christmas Eve show with The Difference, Bobby James & The Plainsmen, Jody Wayne, 004, The Dream Merchants and Dunny & The Showmen before further changes ensued.
During early January Peter Gilder, ex-Deans and The Section, took over the drum stool from Rob Clancy, although The Gonks’s original drummer would return later in the year. According to the Natal Mercury newspaper, this line up played at the Arena Club in Durban on 28 January.
Amid all of these changes, The Gonks enjoyed some notable chart success with their debut single –“You Can’t Stop Me Loving You”, which was subsequently included on the 162/3rpm long-playing Fontana compilation album, It’s All Happening.
On 11 March 1967, The Gonks returned to Durban City Hall for a show alongside singer Billy Forrest and R&B group, The Etonians. That same month, the band’s long awaited second release, “Nobody But Me”, backed by “Woman, Yeah” was released on Fontana single TF 784 and became a modest hit.
The single helped raise the band’s local standing and on 29 April, the band played another show at Durban City Hall with It’s a Secret and singer Beau Brummell, who’d returned to South Africa after several years working in UK and Europe with British band, The Noblemen. On 26 May, they also made an appearance at the Scene club in Durban. Soon afterwards, the band recorded two tracks, which were never released: “Ain’t I Met You Somewhere Before, Little Girl” and “Dreams”.
Also around this time, The Gonks recorded a cover of Gordon Haskell’s “Lazy Life” backed by Neil Diamond’s “The Long Way Home” for the Troubadour label, with singer Billy Forrest producing. Forrest had discovered the song while in England and given it to the band. However, after laying down the backing track, Ross told Forrest that the song didn’t fit the band’s image and so Forrest decided to issue the tracks under the name Quentin E Klopjaeger and The Gonks.Later copies omitted The Gonks and the single (released on Troubadour TRS-E-9093) eventually became a big hit, peaking at number 1 on the Springbok charts on 21 June 1968.
But we are jumping ahead of ourselves. With the recording done, Craig Ross jumped ship to hook up with South Africa’s premier psychedelic group, Freedom’s Children. In his place, the band recruited guitarist and singer Alan Reid from Gershanov’s former band, The Mods.
Further changes ensued. By the time the group released its third single, “Hard Lovin’”, backed by “You Don’t Know Me”, (issued on Renown N 1416) in January 1968, Rob Clancy had returned to the band to displace Peter Gilder and Rodney Aitchison had taken over from Mervyn Gershanov.
Gershanov would subsequently team up with singer/bass player Clive Calder and others, including English guitarist Pete Clifford from The Bats, for a one-off live album, Live At The Electric Circus, released by The First Electric Jamming Band for Parlophone in 1969. Gilder meanwhile, would later work with Spectrum alongside fellow Gonks member, Barrie Cline.
Soon after the release of their third single, The Gonks underwent further changes with another former Mods member, Trevor Turner taking over bass from Barrie Cline. Rob Clancy also left and was replaced by Roger Johnson. Clancy sadly later committed suicide in England during the 1980s.
With all of these changes, it was perhaps not surprising that the band soon ran its course. By mid-1968, the final line up had imploded and Schachat reunited with former members Craig Ross (fresh from Freedom’s Children) and Barrie Cline in Parish News. The project was relatively short-lived and sometime in 1969-1970, Ross and and Schachat formed The Pack with Clive Goodwill (keyboards), Ian Bell (flute) and Dave Evans (drums) among others.
In 1971, however, Aitchison, Ross, Cline and Dave Evans briefly reformed The Gonks and backed singer Alan Garrity. The band never recorded and soon broke up. Evans then joined forces with Schachat alongside other former Gonks members Alan Reid and Mervin Gershanov in Sweet Grass alongside Ian Bell from The Pack.
When the latter unravelled, Evans then formed Jigsaw with Craig Ross and Barrie Cline. A horn band, Jigsaw also comprised Glen Turrel, Mike Slavin, Dave Ridgeway, Tony Hynde and Kiwi.
Schachat and Gershanov meanwhile formed the group Haggis and played original hard rock music in Durban. They had three different drummers – Richard Pickett, Robbie Pavid (ex-Third Eye) and Bokkie De Beer (later with Johnny Clegg) but the band split when Schachat left Durban in 1974 and moved to the US. The guitarist became a lawyer and currently lives in San Diego, California where he plays in a six-piece classic rock band called 9th Floor Band.
Little is known about the other members of the group, who have all kept a low profile. Craig Ross, however, who still lives in Durban and designs kitchens, occasionally sings live and has enjoyed some recent exposure with growing interest in Freedom’s Children.
Article by Nick Warburton
Many thanks to the following for their help: Tertius Louw, Howard Schachat, Peter Gilder, Craig Ross, Rodney Aitchison, Garth Chilvers, Mervin Gershanov, Tom Jasiukowicz, Dave Evans, Brian Colborne and Rob David.
Nick Warburton is a UK based freelance writer. His website is www.nickwarburton.com.
The Fourgathering were from the Chicago area, maybe from Wilmette, a suburb just north of Evanston.
“You’re Mean to Me” flies by in just over two minutes. From the opening chords the pace never lets up, with unrelenting drumming and a twangy rhythm on the guitar. The singer moves from one chorus and verse to the next, pausing only for a very brief solo from the guitarist. The fine background vocals are a nice touch. It was written by A. Gilmore and J. Mayfield.
On the flip, the band gives an energetic performance on the more ordinary blues standard, “Betty and Dupree”. It’s credited as public domain, and arranged by Dan Brown.
The RCA pressing code TK3M-6240 indicates this was most likely a mid-late 1966 release, recorded at RCA’s studios in Chicago.
Thor Records also released the War Lords’ stomping “Real Fine Lady”/ “I’ve Got It Bad” (written by T. Jacobs, J. Papelka).
Thank you to Chris Gilbert for the scans of the white-label promo copy of this 45, seen below.
This time it’s definitely on! I will be deejaying live on East Village Radio with Marty Key – garage, soul, gospel and brazilian and whatever else we feel like spinning.
Tuesday, September 23 8:00 – 10:00 PM Eastern time here in NY.
Tune in through your computer. It’s very easy to do from the East Village Radio site:
www.eastvillageradio.com – click on Listen Live or Tune In in the upper right hand corner of the site.
Following the Beatles appearance on Ed Sullivan in February of ’64 there was an explosion of bands across the U.S. The next few years would see thousands of singles released by individual bands, professional and amateur, which we now consider to have the ‘garage’ sound.
These prime years for teen bands closely coincide with the beginning of America’s war in Vietnam. In August of ’64, Congress passed the Gulf of Tonkin Resolution, which gave President Johnson authority to use military force in Vietnam. The Resolution responded to attacks on U.S. ships stationed near North Vietnam, but these supposed attacks are now known to be bogus. (Check the Gulf of Tonkin Incident entry in Wikipedia to read how the truth was distorted to justify military action.)
In March of 1965 Operation Rolling Thunder began the bombing campaigns on North Vietnam. Initially only a few thousand troops were stationed in Vietnam to support the bombers, but this number grew to 200,000 by the end of ‘65. Troop levels increased to 500,000 in 1967. The Tet Offensive occurred in January of 1968, marking a turning point in the war and U.S. public opinion.
As teenaged boys started bands in the wake of the Beatles, they were facing the possibility of being drafted within the next few years. Most had more immediate concerns – girls, school, cars, and the number of songs about Vietnam or the draft are a tiny minority of all teen beat songs from the period. It was easier to write lyrics that imitated the relationship-oriented pop songs of the era than to sing about political opinions and personal fears.
For those that did, their lyrics display their ethical dilemmas – feeling a duty to serve but ambivalent about whether the war is right; being afraid of dying; not wanting to be told what to do either by the government, society or the anti-war front. These lyrics range from idealistic to cynical. Early on there were very dogmatic patriot songs, but as the draft widened and sentiment turned against the war the imagery became more violent and the jingoism subsided.
Stylistically they had few models to draw from in 1965, as most major U.S. and British Invasion acts weren’t writing political lyrics yet. Some groups would draw from the folk styles of Bob Dylan and Barry McGuire. Others could look to a long tradition in country and pop of making novelty adaptions of hit songs. An example of this would be the Beach Bums’ “The Ballad of the Yellow Beret”, or the Midnight Sons rewrite of “Summertime Blues” to show chagrin at the draft.
At least as far back as the Civil War there had been an industry of professional songwriting and production teams to craft songs about war for the public. (See the Civil War Preservation Trust’s article Patriotic Songs of the War to read about the professional origins of the most-well known songs of the era.)
The Vietnam War would be a different case, as by 1965 young bands were the lifeblood of the music industry. For the first time in modern history, the generation actually serving in the war became the primary voice of the conflict.
I: Shutup the Folksingers
In 1965 Bob Dylan was just starting to make inroads on pop radio with “Like a Rolling Stone”. Earlier protest songs like “Masters of War” were rarely heard on commercial radio but their influence was an intellectual force behind the anti-war movement: a voice that had to be answered by those in favor of the war.
Teenagers in bands may have been unaware of the anti-war songs of Bob Dylan or Phil Ochs in 1965, but they certainly couldn’t miss Barry McGuire’s #1 single “Eve of Destruction” on the radio during that summer and fall. This anti-war, pro-civil rights, anti-nuclear song provoked answer songs and parodies, most not sympathetic to McGuire’s sentiments.
There was plenty in “Eve of Destruction” to upset the mainstream: comparing America’s failure on civil rights to a communist totalitarian state (“Think of all the hate there is in Red China / Then take a look around to Selma, Alabama”) and equating anti-Christian values to hypocritical religiousness (“Hate your next-door neighbor, but don’t forget to say grace”) are but two examples!
There’s a sting of truth to lines like these which would put people on the defensive. Most grating of all was the singer’s repeated dissatisfaction with the state of affairs in the country. Love it or leave it pal!
An early rebuke to McGuire is “The Prophet” from 1965. One thing that’s striking is the sheer belligerence of the singer as he rants!
There’s a prophet of doom, spreading his gloom Shouting misery and hate. Saying this world is a tomb, yeah and there ain’t no room For dreams ’cause it’s too late. He calls you his friend, says it’s the end Destruction is near, but wait …
Hey Prophet, take a look around, Yeah Prophet, there’s still hope around / … /
Hey Prophet It’s awful easy for you to talk about it … Tell me something what are you doin’ about it? Yeah Prophet, WHAT ARE YOU DOING ABOUT IT?! / … /
There’s guys just like me who like what they see, And they want to be free because they like it that way They don’t care what you say They’ll fight to keep it that way too!
Fight for their right to be free … of conscience!
Sure there’s things to be found in this land that’s free that don’t seem right to me But there’s hope in the air because there’s people who care, There not filled with despair like you!
This is the classic turnaround – the one exposing the problems is accused of doing nothing positive to help the situation, of being cynical and emphasizing the negative. The patriotic citizen has ‘hope’ and faith that things are getting better.
A straightfoward inversion of Barry McGuire’s song is the Jayhawkers’ “Dawn of Instruction”. The attitude of the lyrics is similar to The Prophet, with lines like “Step aside, Mister Doom Peddler” and “[we’re] not old enough to vote, but ain’t young enough for runnin'”.
“Eve of Destruction” was an easy target for some of its over-the-top lyrics (“even the Jordan River has bodies floatin’” or “my blood’s so mad feels like coagulatin’”), and the Jayhawkers made the most of these exaggerations.
Billy Carr’s “What’s Come Over This World” saw release on Colpix, and is obviously a professional songwriting and studio effort. Lyrically it is a flag-waving message, with plenty of disdain for the dissenting elements of the younger generation. The production co-opts more than a little of Dylan’s style, and not in parody either, a sure sign that the old guard was desperate to keep relevant. Dylan-esque harmonica shows up on so many of these answer songs, whether mocking him or in sincere imitation, that his influence must have been inescapable.
What’s become of this nation and the songs that they sing? Everybody’s protesting, what’s it all gonna bring? We sang the Star Spangled Banner, forever in peace may it wave, And now some rock ‘n roll singer is knocking the Home of the Brave
What’s come over this world? I’ve thought it over and I can’t get over What’s come over this world?
There’s an army of cowards, see them marching in line While the country’s in danger, they just carry a sign Look at them burning their draft cards and refusing to fight While they talk about freedom, they’re dimming liberty’s light
My brother fought in Korea, my daddy in World War II Now there’s a war in Viet-nam and there’s a job we must do What can you do for your country, his words were written in blood Those who forgot what he died for, are dragging the flag through the mud.
More nuanced (and much better music) is “So the Prophets Say”, released in April 1965 by a group in their late teens the Centurys of Lebanon, Pennsylvania. The echo engulfing the tom-tom drums, dense guitars and eerie organ creates a doom-laden atmosphere, but lyrically the song repeats anti-communist propaganda. More than anything, though, it stresses individual choice against conformity. “So the Prophets Say” was written by lead guitarist Billy Beard, who passed away this past July 31, 2008.
They’ll tell you that they’re wise, and that they’ll analyze your situation. They can tell you what’s gonna come and how certain things will be done, They’re your salvation.
Will the world end today, like it did yesterday, or will we have to wait till tomorrow? will tell you when it comes, you’ll hear those rocking drums, you’ll just repent, you know your sorrow
These men of wealth? and men so poor? These prophets of peace and prophets of war – are they getting you?
Then they tell you to make a big sound about getting out of Vietnam, You know you’ve got a right to your convictions! But will they warn you of a coming day, when your placards might be thrown away, and they’ll say “now you’ve got a few restrictions.”
You may not like it if they hand you a gun, before you turn 21 and say “now you’ve got to be a man!” But when your freedom’s bells stop ringing, and a Red slave song you’re singing, You’ll wish you had a gun in your hand!
These men so good and men so bad These prophets so sane and prophets so mad – they get you!
Why don’t you let it be known, you’ve got a mind of your own, And you can tell right from wrong from day to day, And that you l… because they know you care, And so you’ll beware of what the prophets say!
In early 1966 Sgt. Barry Sadler had a #1 hit with that paen to the american soldier, “Ballad of the Green Beret.” The Beach Bums (actually Bob Seger singing when he was with Doug Brown and the Omens) adapted it for their “protest against protesters”, “The Ballad of the Yellow Beret.” It’s not really a parody of the Sadler song as a straight up mocking of draft-dodgers.
This is a protest against protesters:
Fearless cowards of the U.S.A. Bravely here at home they stay They watch their friends get shipped away The draft dodgers of the Yellow Beret
Yellow streaks up and down their spines Men who gladly stay behind They won’t fight for the U.S.A. They fought hard for the yellow beret
Men who faint at the sight of blood Their high heeled boots weren’t meant for mud The draft board will hear their sob stories today Only the best the yellow beret
Back at home a young wife waits Her yellow beret has met his fate He’s been drafted for marching in a protest Leaving her his last request
Put a yellow streak down my sons back Make sure that he never ever fights back At his physical have him say he’s gay Have him win the yellow beret.
Next installment: Democracy and the Draft
Thank you to Bernard Watts (Scratuglia) and to Pete Sofinski for the label scan. Thanks also to portofranco and Justin for the Billy Carr scan.
Even years after first posting about the Clear Blue Sky, I haven’t been able to find much info about the band.
“Morning of Creation” is a mystical psychedelic number by John Kessler, with dense harmonies and a finely-wrought guitar solo.
The never-before-comped flip “Ugly Girl” is cruder, with the interesting refrain “There’s a place / behind that face / for a girl.” It was written by Douglas Hardie (D.E. Hardie on the 45 label).
Like other Romat 45s this was recorded at Pitt Sound Studios, located northwest of Greenville, on the way to Falkland.
Thanks to Carroll Jenkins for the label photo of “Morning of Creation”.
The Kenetics 45 is one of my very favorites in all garageland. The band may have been from Martin, Tennesee, three hours drive west of Nashville near the Kentucky and Missouri borders.
Buddy Deason wrote both the songs featured here, but I don’t know any other members’ names.
“Put Your Loving on Me” starts out with a simple riff then moves to barre chords over sustained organ notes and drum rolls, then launches into a catchy progression for the chorus where the band chants “Baby, baby put your loving on me.” When the verse starts the band lays off every other repetition while the lead singer hiccups his pleas to this chick. Otherwise the verse and chorus are identical. No bridge, just a simple solo break and it’s back to the chorus and verse pattern again. The instruments are finely balanced and there’s a nice echo applied to the vocals that blends with the organ.
“Jo Ann” is a throwback to an earlier era. The band tries hard to make the song work, but it falls flat compared to the top side.
Nashville was a custom label of Starday, based out of Madison, just outside Music City. The 45 was pressed at the nearby Columbia Records plant indicated by the dead wax “ZTSB-128084/5” in 1967.
Pitt Records was one of the labels for Pitt Sound Studios, originally at 906 S. Washington Street in Greenville, North Carolina. The most notable song cut at Pitt Sound Studios was the O’Kaysions “Girl Watcher”, though the original label was North State.
Pitt Records had a number of gospel releases, a couple of country singles by Larry Anderson, and garage cuts by the Inspirations and the Empalas. I’d like to know more about the Royal Charmers, which I’ve read is garage.
Under different ownership the Pitt Sound Studio moved northwest of Greenville, on Highway 43 towards Falkland, where it was still in business as of 2008.
Romat Records was owned Roy Matthews, now deceased. He was a DJ and barber from Robersonville, north of Greenville. All of the Romat releases were recorded at Pitt Sound.
One source told me Roy sang on the 45 by the Forbes Brothers on Pitt, “Arkansas Jail” / “Idaho Red” which included members who went on to the Supergrit Cowboy Band. Roy’s daughter says that was incorrect, and the label seems to bear this out, with lead vocals by Ola Forbes, Jr. That 45, like most of the Pitt and Romat releases was produced by Carl Lineberger, with publishing by Roy Matthews Music.
Pitt discography: any help with this would be appreciated
Pitt 657 – Larry Anderson – “On The Losing End” / “After You Leave” Pitt 658 – Royal Charmers – “Hey Girl” (Greg Williamson) / “Midnight Hour” Pitt 659 – Summitts – “On My Knee’s” (David Erdman) / “Mercy, Mercy” Pitt 661 – The Singing Spiritual Heirs (Bill Harris and Lloyd Adams) – “A Higher Mansion” / “I Need A Blessing” / “One More Valley” / “Cast Your Cares Upon The Master” Pitt 662 – Forbes Brothers featuring Ola Forbes, Jr. – “Arkansas Jail” / “Idaho Red” Pitt 665 – Larry Anderson – “Memories of the Past” (Vernal Gaskins) / “Absent Without Leave” (produced by Patrick Woodard) Pitt 667 – The Inspirations – “Loving Man” / “I Had You Always” Pitt 669 – The Empalas – “Girls, Girls, Girls” / “Gentle On My Mind” Pitt 670 – Elder Lanier and the Zion Travelers – “Yes I Know” (N.L. Lanier) / “Christmas Gift” Pitt 675 – Terry Carraway – “Put Your Hand In The Hand” / Deborah Wooten – “Reach Out to Jesus” Pitt 678 – Robert Fuller and the Southern Spirituals – “It Won’t Be This Way (Always)” / “Thinking Of A Friend” (Andrew Herring) Pitt 680 – Waterside Male Chorus – “Wave On The Water” / “I Know The Lord Will Make A Way” Pitt 682 (?) – The Uptighters featuring Tyron Green – “Smoke” / “I Need Some Magic” Pitt 11197 – Dan Marshburn – “Disc Jockey’s Last Show” / “Round and Around”
Is the Summitts release the same group with the 45 from 1970, “I Can’t Get Over Losing You” (Joe Tate) on Dontee? That was supposed to be a DC group.
LP: PSS-LP 1006 – The Gospeletts – Hand in Hand, recorded at Pitt Sound Studio Greenville, NC; Roy Matthews Audio Engineer.
Romat discography:
Romat 1001 – The Sound System – Take A Look At Yourself / Serenade Romat 1002 – The Soul Twisters – Swingin’ on a Grapevine / Soul Fever Romat 1003 – The Scotsmen – Down and Out / A Groovy Place Romat 1004 – The Soul Twisters – Doing Our Dance / If It Takes A Year Romat 1005 – Clear Blue Sky – Morning of Creation / Ugly Girl
Thanks to Doug Pickette for the sleeve to the Scotsmen 45, below. Doug tells me the lead guitarist was Harold Stephens, and the keyboardist was Wilbur Weeks (RIP), who ran a music store in Scotland Neck, NC.
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.
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On the top side is “You’ve Got Your Rosies On”, a nicely produced tune where the singer makes it clear his girl shouldn’t expect much of him, while the girl’s voice chimes in asides like “too bad.” It was written by R. Jarrard and James Hilton and arranged by James Hilton, and published by Jarhill Pub. Co., BMI.
One notable thing about this release is it’s on the Miramar label, most famous for releases by the Dovers. See 
“I’m Gonna Leave You” starts with a catchy bass and drum rhythm, then the vocals and organ combine for a haunting effect. A fast organ sequence and a howling guitar riff open “I Just Want You”, which features a busy, popping rhythm. “I’ll Never Forget” is a slow ballad, very much an early ’60s doo wop vocal style.
On the way to record “I Just Want You”, we didn’t have “I’ll Never Forget” completed. So, we finished it in the car and recorded it on the flip side. All four songs were written by Bob and Steve Ficklin.
Even years after first posting about the Clear Blue Sky, I haven’t been able to find much info about the band.
The Kenetics 45 is one of my very favorites in all garageland. The band may have been from Martin, Tennesee, three hours drive west of Nashville near the Kentucky and Missouri borders.
Pitt Records was one of the labels for Pitt Sound Studios, originally at 906 S. Washington Street in Greenville, North Carolina. The most notable song cut at Pitt Sound Studios was the O’Kaysions “Girl Watcher”, though the original label was North State.
