From Rochester, Little Peppy is Marlene Torre, writer and singer on both these sides. She and the band turn in a spirited performance on “It Can Happen!!” The designated a-side, “Since You’ve Gone Away” is a slow ballad about missing her lover drafted overseas.
This was a custom press recorded at Fine Studios in September, 1966, and released with their house label. The master tape that turned up with the remains of the studio has alternate takes of each song.
One mystery is who was the band backing her as the Bare Existence.
If anyone has a photo of Little Peppy aka Marlene Torre, or the Bare Existence please contact me.
The Baroque Brothers and the Six Pents were house bands at George Massey’s La Maison Au Go Go in Houston, Texas in 1965.
The Six Pents went on to cut a few 45s (including “She Lied” on the Kidd label) before changing into the Sixpentz and then the Fun and Games Commission.
The Baroque Brothers only released this one 45. “So Glad Was I” combines distinctive folk-rock harmonies with a more typical bridge. The band is so competent that I wonder if they didn’t cut more records under a different name.
Members were Kirk Patrick, Bo Allison, Roger Romano and Jim Robertson. Both songs here are by Kirk Patrick, listed in BMI’s database as Har. Kirkpatrick.
The flip “Baroque au Go Go” is a light instrumental with horns and overdubbed crowd noise.
Thank you to Nancy Kuehl for the scans of the news articles and La Maison flyer. Another source for info was the 1960’s Texas Music site
The Chancellors Ltd. were a Houston band with members David Singleton, Brian Evans, Clark Clem and Gary Bowen.
Somehow they connected with a local socialite, Dene Hofheinz Mann, who had written a book about her father Judge Roy Hofheinz titled You Be the Judge. Roy Hofheinz was a former mayor of Houston, Texas, owner of the Houston Colt 45s baseball team which became the Astros, and builder of the Astrodome.
Dene Hofheinz Mann wrote the song “You Be the Judge” and had the band record it for her own Dene label (dig the dome!) It was produced by Mann and Burchfield, and arranged by F. Beymer.
I’d say it was a tie-in to the book, except the lyrics are all centered on a love interest, not about politics (maybe indirectly – “who understands the rules that we live by!”)
In any case it’s a great moody rocker, catchy but completely uncommercial. The flip is a fine instrumental written by lead guitarist Clark Clem – its title, “From the Sublevels”, describes its sound perfectly.
Evans Music City, listed on the card, is still in business at a new address.
Clark Clem turns up in another bit of Houston music history, as the guitarist of the band Deuce Is Wild (or Deuces Wild).
The Del Counts, photo courtesy of Dan ShearenThis is the same Del Counts of Minneapolis who had a couple 45s on Soma, “Bird Dog” / “Let the Good Times Roll” and “What is the Reason” / “With Another Guy”. They also recorded a full album at Dove Studios that was never released.
Charlie Schoen, bass player and vocalist, wrote both songs on this 45, produced by their manager, Marsh Edelstein. I really dig “Ain’t Got the Time” with its whining guitar bends, fast beat and drum break. The flip is the less convincing “Don’t Ever Leave”.
The Del Counts had a long career playing at the Marigold Ballroom and around the Minneapolis area. They continued into the early 70’s, releasing a final 45, “Who Cares” / “Don’t Let the Green Grass”, in 1972, and were still playing live in recent years.
Charles Schoen contacted me about the band recently:
Members were Steve Miller on guitar, Bob Phalen on bass, Kelly Vincent on drums, myself on keys and vocals. “What Is the Reason” sold over 20,000 in the first two weeks it was out because the District Manager of Musicland Records told me that we had a four star pick in Record World magazine with a bullet. That was just Minneapolis and St. Paul MN.
Sources include: Birdland Revisited article in City Pages. From left: Charles Schoen and Steve Miller. Photo courtesy of Dan Shearen
Los Soñadores (the Dreamers) were from, I believe, Seville. Their first 45 has an excellent original “Sin saber por que” and a song I haven’t heard, “Judy con disfraz”. If I can find a copy I’ll post it.
José Luis Garrido wrote both songs on their 45, including “Vete,” a short, upbeat number with elements of Knock on Wood and Papa’s Got a Brand New Bag. The a-side is a pop ballad “Lo sé por mi.” This is one of the discs I found in Valencia with the help of Borja.
After Los Sońadores, José formed a group called Flamenco, opened recording studios and worked as musical producer on films.
The Shadows, from left: Frank Cannon, Curtis Goodman, Donnie Walker, Stanley Fowler, Jack Bigham and Roger YoungPhotos from Facebook
Here’s a great 45 by the Shadows, a group from Northport, Alabama, across the Black Warrior River from Tuscaloosa.
I recently spoke to guitarist and lead singer Mike Thornton, who helped me straighten out the history of the band. He was only 14 when he joined and the other members were just a little older, mostly students at Tuscaloosa County High School. I believe he replaced their original singer Curtis Goodman.
Along with Mike, Frank Cannon and Jack Bigham played guitars, Stan Fowler played bass and Donnie Walker the drums. Roger Young played keyboards, but he wasn’t present at the recording session so Mike Thornton filled in that day.
The band played semi-professionally for about three years, playing on weekends and when school was out. A rival band was the Misfits from Tuscaloosa, featuring Chuck Leavell and Ronnie Brown.
“If You Love Me” is classic garage with a good performance all around, notable for the repeated distorted guitar riffs and a fine solo, excellent drumming, and good vocals. It was written by Jack Bigham and Mike Thornton.
“The Big Mess” is a sharp take on Watermelon Man, credited to the whole group. Mike Thornton moved from organ to piano for this song.
Does anyone have better-quality photos of the group?
Roger YoungAfter the Shadows, Mike Thornton joined The Omen and Their Luv with Bruce Hopper, Billy McLain, Tommy Stuart, Gary Barry and others. That band had a great 45 on David Keller’s Daisy label, “Maybe Later” / “Need Some Sunshine” (both songs written by Tommy Stewart). David Keller himself was in the Preachers. The Omen and Their Luv with Thornton later became Tommy Stuart and the Rubber Band.
For a long time it was believed the band was from Tennessee or northern Alabama, as the Woodrich label was based in the northern Alabama towns of Rogersville then Lexington, both near Huntsville and Decatur. Mike isn’t sure why the band went so far to record when there were studios nearby in Birmingham, but thinks one of their managers set the deal up.
I had also heard that most of the Woodrich label’s recordings were made in Nashville, about 120 miles away, but K.S. in a comment below, says that owner Woody Richardson did most of the recording in his home studio. Woodrich released mainly pop sides by Buddy Hughey, Patsy Penn, the Campbell Trio, the Light House Gospel Singers, the Rocks, and Aaron & Sue Wilburn.
I usually find something enjoyable in 60s Indonesian girl-singers’ records, although some are bit too twee even for me. I had thought that was probably true of Andriani (it says Andraini on the cover, but I am sure this is a typo), who judging from her picture was very young at the time she made this record.
I had actually seen a full album of Andriani’s with the same cover as this EP, as well as one other EP before I finally grabbed this one. When I got the record onto the turntable and dropped the needle into track one I heard a more than reasonable pop song coming out of the speakers, so I was fairly happy.
But Bandel (Stubborn), the second track? I almost didn’t believe it; a wailing garage guitar intro and a driving distorted lead-in. It calms down a bit after that, but the distorted guitar makes another appearance about half way through and the whole song moves along at a nice pace. The other side of the EP is another two okay pop-tunes.
This EP was put out by Istana Stereo, which I am fairly sure was a pirate record label based in either Singapore or Malaysia. It was a common practise for these pirate labels to take an album and turn it into a number of EPs, usually with the same cover, but often numbered volume 1, 2, etc.
My copy has absolutely no information about Andriani or her backing band, but I bet the album that this was ripped off from has at least one other garage-fuelled track lurking in there somewhere.
The Group – l-r: Noel Odom, Sonny Williams, Bob Fell and Fred Engelke “circa 1965 – rear of Walker & Rodie Music in downtown Shreveport”
I don’t own any of Noel Odom and the Group’s three 45s – not for lack of trying, but they’re in high demand since “Come on Down to Earth” became a staple of 60’s music nights around the world.
You might assume an artist on Tower and its subsidiary Uptown would be based in California, but the Group was actually from Louisiana. Their songs were licensed by Tower, but without any push from the label or band presence on the L.A. scene, the 45s undeservedly dropped out of sight. Noel recently took the time to answer some of my questions of his time in music:
I played in “The Group” 1964-1969 – later “Noel Odom and the Group.” Bob Fell and I started the band, and as a unit also Fred Engelke- drums and Sonny Williams- bass. Later added Ron DiIulio on keys- great player – still is!!
We played live in Shreveport and Bossier at high school dances at Airline High and Bossier High. Several teen clubs like Southland Park and the Teenclub at Barksdale AFB. Also at that time “the Strip” in Bossier city was famous with numerous clubs along Highway 80 East. The most famous being “Saks Whisky-a-Go-Go” with the “Boom Boom Room.” Also “The Shindig” where we played all through a full quarter of college. All four of us went to Louisiana Tech together. We usually played somewhere every weekend.
We backed Dickie Lee at a show in Shreveport and he took us to Memphis to record in 1968. We recorded five songs in Memphis at Sam Phillips Recording studio with Stan Kessler as engineer: 1: “Pardon My Complete Objection,” 2: “I Can’t See Nobody,” 3: “Midnight Hour,” 4: instrumental that Ron DiIulio wrote, “Love Too” I think, and finally as an afterthought “Come on Down to Earth.” Picked up and signed by Tower Records, division of Capitol. Naturally the company came back and liked Come on Down, so horns were added and it was released – never went anywhere.
The record was on American Bandstand’s “Rate a Record” and we beat the other song “Leavin on a Jet Plane” and I believe it was John Denver’s version before Peter, Paul & Mary recorded it and made #1. Dickie Lee was our producer and Allen Reynolds was our A&R man.
Our other sessions were done in Sun Recording studios, which was just redone. The J. Reid was John Reid and he wrote a concept album about “Flower Children” and it included a lot of narrative. “Hey Yesterday Where’s My Mind” and “Come on Rain” came from that work. It was a cool idea and we had some forward thinking effects like feedback guitar on one track. It was never released in full, but there was some good work on that album.
Thanks for asking the questions- it really taxes my memory, but those were good days in my memory.
I am still playing in the Shreveport area in “The Convertibles” together for 21 years, playing old r&r.
Drummer Fred Engelke filled in some details on the band:
During high school Ron DiIulio and I formed a band called “The Class Cutters” and we competed with Noel and Bob’s group “The Group”. Ron went to college at North Texas State University and I went a year at Texas A & M. After my freshman year, I came back to Louisiana to go to school and joined up with Noel and Bob. We then recruited Sonny Williams for bass and formed the new version of “The Group”. Later, after Ron came back from NTSU, we got him in the band and created the final version of “The Group”.
The producers said there was already a band called “The Group” so we renamed ourselves “Noel Odom and the Group” because of Noel’s unusual first name. When we released the last record they decided that the name “Noel” would distinctive and we used it.
As Noel said, “Come on Down to Earth” was really a throwaway song to be used as a “B” side to one for the other recordings. It turned out well and we recorded “Love Too” as sort of a “C” side. It was made up on the spot by Ron DiIulio. Ron (not pictured in the photo you have) was a member if the group during all sessions.
By the way, when you hear Noel say ‘Come in Ron!’ he was referring to the solo that Ron did on organ. However, they decided later to use a guitar solo by Bob instead. Also, there were no drumsticks in the studio and I forgot to bring any and there were no music stores nearby that were open, so I played the entire session using the stick part of timpani mallets.
The last record, “Hey Yesterday Where’s My Mind,” under the group name “Noel” was released shortly before Noel enlisted in the Navy. He did this because he didn’t want to stay in college and, because it was during the height of the Vietnam War, he knew he would get drafted. He figured if he enlisted he could choose what he would do and he figured the Navy would be less likely to send him to Nam.
Was Ron the same person who played with the Chessmen in Dallas?
Yep, that’s the same person. He was not originally from Dallas but he formed the Chessmen while attending North Texas State University. We stole him from the Chessmen to be in the group. He’s back in the Dallas/Fort Worth area, playing with his current group “Crawfish”. He would love to bring Noel with his voice into the group he now has. Noel’s voice has matured and Ron has assembled a super group of musicians. The last time I saw Noel sing with Ron’s band, I was totally blown away! I haven’t seen either for two or three years now.
On a side note, Susan Christie recorded a nine-minute version titled “Yesterday, Where’s My Mind” after meeting Blackwood Music songwriter John Reid in Memphis. Hear it on B-Music’s CD – Susan Christie – Paint a Lady.
The Group continued after Noel’s departure, eventually becoming the second of two versions of the Bad Habits who recorded for the Paula label.
Thank you to Noel Odom for his comments and the photo of the Group, and to Fred Engelke for his comments and 45 scans.
Noel Odom & the Group 45 releases:
Noel Odom & the Group – Come on Down to Earth / Love Too (Tower 441, 1968) The Noel Odom Group – I Can’t See Nobody / Pardon My Complete Objection (Uptown 763, 1969) Noel – Hey Yesterday Where’s My Mind / Come on Rain (Tower 505, 1969)
Both the singer and the band are presumably from Singapore, where this EP was recorded. I have seen a few other records by M. Rahmat, again with backing by The Teruna, but with songs also by female singer Asmah Attan.
All the songs on this EP are good, but the stand-out one for me is Mula Bertemu (First Meeting), with some strong guitar and a driving sound. M. Rahmat has a strong, deep voice; a fact that may have inspired another song on the EP; his cover version of Indonesian baritone Alfian’s Semalam di Cianjur. On that song The Teruna provide a swinging, cha cha backing. The other songs are Elly and Peristiwa di Pantai (Episode at the Beach), and all accept Cianjur are credited to M. Rahmat.
The Hazards “Hey Joe”, Groove 45-502Here’s one of the all-time great versions of “Hey Joe”, cut by a group of high-schoolers in Richmond, Virginia.
Band members were Andy Hrabovsky vocals, Sonny Salisbury lead guitar, Alan Sidenburg guitar, Greg Ellison bass, Stanley Bernstein organ, and David Moore on drums.
Andy Hrabovsky added some specifics about the band members in a comment below:
David Moore and Stanley Bernstein went to Thomas Jefferson High, Greg Ellison and Alan Sidenburg went to Douglas Freeman, and Sonny Salsbury and myself went to John Randolph Tucker High.
Stanley left the band not long after the release of “Hey Joe”, and was replaced by Steve Bassett from Freeman, who has gone on to some degree of notoriety. He and Robbin Thompson [of the Tasmanians] did “Sweet Virginia Breeze”.
Sonny Salisbury really distinguishes their take on “Hey Joe” by alternating staccato picking high up on the frets with fuzz riffs on the bass strings. Hrabovsky delivers some of the best shouting on vinyl and the rest of the band is solid as well.
The flip is the milder “Will You Be My Girl” by Stan Bernstein and Andy Hrabovsky. The record was produced by Martin Gary.
My copy seems to be from a radio station, dated June of ’67, and though both sides have “keep in regular play” written on them, “Hey Joe” is also marked to be played only after 6 PM!
The Groove label was owned by Marty Gary. Radio play on local WLEE led to a second pressing on a blue label. I’ve seen the band referred to as the Hazzards, with two ‘z’s, but on the label it’s just Hazards.
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
Both the singer and the band are presumably from Singapore, where this EP was recorded. I have seen a few other records by M. Rahmat, again with backing by The Teruna, but with songs also by female singer Asmah Attan.
