The Triumphs “Better Come Get Her” is a stomping rocker, with lines like “she wants to cheat, and I’ll give her the chance”! The flip is the bizarre blues novelty “Morticia Baker”; the single was released on Pacemaker Records PM-238 in early 1966.
The Triumphs came from Rosenberg, TX, just southwest of Houston. Billed as the Triumphs of Rosenberg, I can find notices of their live shows as early as March, 1961, and they started recording in 1962, with singles on various labels such as Dante and Bragg.
For “Better Come Get Her”, the Triumphs consisted of:
Don Drachenberg – usually saxophone but lead vocals Tim Griffith – guitar Tom Griffith – bass Fred Carney – organ Teddy Mensik – drums Denver “Denny” Zatyka – backing vocals Gary Koeppen – backing vocals
Mark Charron was a prolific song writer who composed both sides of this single, as well as other songs for the Triumphs, like “Candy Baby” (the flip of their Pacemaker hit “I’m So Lonesome I Could Cry”), and “Keep It Up” on Joed Records, which is now sought after by soul DJs.
The Triumphs had been backing B.J. Thomas, but I’ve read the band wouldn’t tour after “I’m So Lonesome I Could Cry” hit, so Thomas dropped the group. His solo career was already underway, “Tomorrow Never Comes” / “Your Tears Leave Me Cold” on Pacemaker PM-239, credits B.J. Thomas alone.
Huey Meaux owned Pacemaker Records. A Crazy Cajun album Gotta Keep My Kool includes some unreleased music I haven’t heard yet.
Other members of the Triumphs included Doug Griffith on keyboards, John Perry on bass, and Ron Petersen.
The Triumphs would continue, but not releasing more music until 1969 and 1970, when they made two singles on Master Record Co., based out of Jones Sound Recording Studio at 1523 Blair in Houston. Wand picked up one of these, “Houston Won’t Call Me” for national release. I haven’t heard their first Master single, with the intriguing titles “Hang My Mind Out to Dry” / “The World Is Dying”.
Source: Alec Palao’s notes to Don’t Be Bad! (60s Punk Recorded in Texas) which digs deeply into Crazy Cajun’s tape vaults.
Thanks to Dave Clemo for providing the contents of this entry, including the extensive gig list at the end
This is the story of The Tin Hat, Kettering’s legendary music venue. Between 1967 and 1969 many of the UK’s finest bands performed there.
This account is taken from Back Street Genius by Dave Clemo, with Roger Kinsey and Mavis Tompkins.
The book is the first of two books about legendary recording studio owner/engineer Derek Tompkins.
The roll call of musicians and producers who had their first studio experience at Derek’s Shield and Beck Studios include Queen bass player John Deacon; Whitesnake guitarist Bernie Marsden; and world famous record producers of the calibre of Max Norman, Trevor Horn and David Foster.
Copies of Back Street Genius can be ordered from Waterstones and Rough Trade. It is also available as an eBook.
The Tin Hat was a corrugated iron clad steel framed building that had originally been opened in 1900 as the Athletic Club. It was nestled in the shadow of the town’s football ground. The facilities were almost non-existent and eventually the decision was taken to open a new club along the road.
The new building had a large car park and the rear doors opened onto the stage which made loading in very easy for the groups that performed there. It opened for business in April 1967 and the old hut was consigned to history.
A few weeks later Derek Tompkins’ brother Brian reopened The Tin Hat as a music venue. He removed the old central bar and built a stage at one end. It proved to be very popular from the outset, so much so that both Derek and his wife Mavis came in most Saturday nights to help behind the bar.
The opening night was June 10th, 1967. The club opened on Fridays, Saturdays and Sundays with a live band (or two) on a Saturday night and discos on the other nights. This fitted in well with The Works, the other regular music venue in Wellington Street. Their live music nights were on Sunday and Monday nights.
Very few photos of the venue exist. The smell of the interior must have been a heady mixture of tobacco smoke and warm beer, and no doubt the floor would have been pretty sticky by the end of the evening.
The disco nights featured Brian (Tompkins Sound) and Mavis’ brother Alan (Allan D). They used Derek Tompkins’ hand built Shield disco gear and it wasn’t long before they were performing at other well-known venues like the Nag’s Head at Wollaston or the George at Wilby.
Mavis Tompkins wrote: “Brian used to book some of the most famous soul and Motown bands of the time. Most of the Tompkins family got involved, from Brian’s wife (another Mavis), on the door, to his older kids on the cloakroom and glass collecting duties.
Derek and I would help behind the bar with serving drinks and glass washing, which involved dunking empty beer glasses into an ice-cold sink full of murky water as fast as we were able.
Our tasks included sweeping the filthy debris and beer-soaked floors and toilets afterwards. Mavis, Brian’s wife, had to be a pretty tough cookie, dealing with clashes from mods and rockers etc., and was famous for knocking out one belligerent customer who ended up in hospital!”
Derek later wrote: “It was always full to capacity every Saturday night, supposedly with around 200-300 punters, but it was more like 600! Brian booked a host of big stars: including Fleetwood Mac and John Mayall’s Bluesbreakers.”
Fake bands
In the mid sixties the Roy Tempest Organisation was one of the UK’s biggest music promoters and agents. The Canadians (featuring a very young David Foster on keyboards) signed with them in late 1966 and went to work backing visiting US acts like Chuck Berry.
However, there was another side to the agency. They regularly brought in unknown US acts and passed them off as Motown groups. The groups were tribute acts, sometimes but not always containing an original band member.
Tempest got around the law by subtly changing their names, calling them ‘The Fabulous Temptations’ or the ‘Original Drifters’.
Bill Pinkney was an original member of The Drifters dating back to 1953 and sang bass on many of their hit records. He and the group toured the UK three times in 1966.
Pinkney was back in the UK in 1967, this time accompanied by three singers who had never been Drifters at all. They were the unknown US band The Invitations. This was the line-up that played the Tin Hat on Friday September 29th.
The music press was soon up in arms. A reporter from Disc took it up with Tempest who argued that the promoters knew only too well they are not getting the real group. He claimed it was OK because he knew of five sets of Drifters touring the US at that time.
Tempest supplied several more acts for the Tin Hat in 1967/8, including ‘The Fabulous Temptations’ on September 15th, 1967 (actually the Fantastics who had recently changed their name from The Velours).
James & Bobby Purify appeared on February 3rd, 1968. It’s quite possible that the February 17th appearance by Edwin Starr was yet another tribute act. Tempest also had a Mary Wells and a Fontella Bass act. They were the same singer.
My co-author Roger Kinsey remembers going to The Gaiety in Ramsey to see The Isley Brothers in February 1968. Were they the genuine article? Nobody knew what the genuine band looked like, and that was good enough for Tempest.
Motown eventually took legal action against him when they discovered that The Fantastics were being passed off as The Temptations and the resulting court case ended with Tempest’s bankruptcy.
Between 1967 and 1969 the Tin Hat was an important part of Kettering’s entertainment and night life. Every weekend the venue was packed to the rafters with people out to enjoy a good time. The acts that Brian booked covered almost every genre from Blues and Prog to Soul and Pop, and even jazz for a few weeks during the summer of 1967. The club was usually open on Fridays, Saturdays and Sundays, with live bands on Saturdays. Some of the descriptions of the groups make interesting reading half a century later.
People travelled to the venue from Rothwell, Desborough and Corby and from Christmas 1967 the club laid on late buses to get everyone home. The management of the club changed hands early in 1969 and an era was at an end. The venue continued for a few more years but mainly concentrated on Soul/Motown.
I looked through every back issue of the Kettering Evening Telegraph between 1962 and 1969 while researching Back Street Genius and photographed every advert for the Tin Hat.
Here is the complete list of shows
1967
Saturday, June 10th Horatio Soul & the Square Deals Show plus, Yvonne the limbo dancer and the Q Men (opening night)
Sunday, June 11th (Fontana recording artists) The Night People plus The Trax
Friday, June 16th (from Coventry) Inside Out
Saturday, June 17th (from the USA) Winston G backed by The Set plus The Ironsides
Sunday, June 18th (Top surfing performers) Deuce Coupe
Friday, June 23rd Dimples plus Updown Round Sound (from Oxford)
Saturday, June 24th (Surfing harmony group) The Symbols plus, The Swamp
Sunday, June 25th Gravy Train (from Birmingham) plus Disco
Friday, July 1st Disco
Saturday, July 2nd Sean Buckley Big Set plus Stumbling and Falling plus Rio Moody Dancers
Sunday, July 3rd (Radio TV and Recording stars) The Peeps
Friday, July 7th Disco
Saturday, July 8th (Coloured Colourful CBS Recorders) The Gass
Sunday, July 9th Disco
Fri day, July 14th Disco
Saturday, July 15th Joyce Bond (Do the Teasy) Band Show
Sunday, July 16th Jazz Disco
Saturday, July 22nd (From London) Shell Shock Tamla Show
Friday, July 28th Disco
Saturday, July 29th Wynder K Frog & his Frogmen plus, The Plastic Dreamboat light show
Saturday, August 5th The C.A.T. plus U.S.A. Flattop
Saturday, August 12th The Syn plus The Friction
Friday, August 18th Allan D Disco (Alan Dobson is Mavis’ brother)
Saturday, August 19th P P Arnold with her Nice. A few weeks later they had split from her. Organist Keith Emerson later became a global superstar with Emerson, Lake & Palmer.
Sunday, August 20th Disco
Friday, August 25th Disco
Saturday, August 26th The Reg James Explosion plus Crash Landing
Sunday, August 27th Disco
Friday, September 1st Allan D Disco
Saturday, September 2nd Ebony Keys with the Hip Hooray Band (Cat Stevens’ former backing group), plus The Unit Six
Saturday, September 9th John Mayall’s Blues Breakers with support from Pesky Gee
Friday, September 15th The ‘Fabulous’ Temptations (this was The Fantastics) plus The Invaders
Saturday, September 16th Root & Jenny Jackson with the Hightimers, plus Purple Barrier
Friday, September Sep 22nd Deuce Coupe
Saturday, September 23rd Disco
Friday, September 29th The Original Drifters (one of Roy Tempest’s fakes)
Saturday, September 30th Freddie Mac and the Mac Sound, plus The Survivors
Saturday, October 7th Nite People plus Stumblin ‘n Falling Blues Band
Sunday, October 8th Spencers Washboard Kings
Saturday, October 14th Disco
Sunday, October 15th Max Collie’s Rhythm Aces
Saturday, October 21st Riot Squad plus the Triads
Sunday, October 22nd Bill Nile’s Delta Jazzband
Friday, October 27th Image (Kettering’s 1st and Only Light Show Scene)
Saturday, October 28th The Gass supported by The Traxx
Friday, November 3rd Disco
Saturday, November 4th (From Detroit) Max Baer and the Chicago Setback support by Friction
Friday, November 10th Allan D Disco
Saturday, November 11th Mike Stuart Span supported by The Dream plus Rio Moody Style Dancers
Sunday, November 12th Allan D Disco
Friday, November 17th Allan D Disco
Saturday, November 18th Rob Storme and the Whispers
Saturday, November 25th Family with support from You Know Who
Saturday, December 2nd Sugar Simone and the Programme & Mo Brown and Hellions People
Sunday, December 3rd Allan Dee Disco
Saturday, December 9th Pinkertons Assorted Colours plus The Heretics
Sunday, December 10th Allan D Disco
Saturday, December 16th P P Arnold with the TNT, plus The Crew
Sunday, December 17th Allan D Disco
Saturday, December 23rd Shevelles plus the Kobalts
Sunday, December 24th Laverne West and the Fabulous Rangers Showband
Tuesday, December 26th Swinging Q Men & the Spectre Powerhouse
Saturday, December 30th King Ozzie, Earl Green, Honey Darling and the Coloured Raisings Show
Sunday, December 31st Sweethearts & the Adlib Group
1968
Saturday, January 6th Peter Green and Fleetwood Mac plus John James and the Swamp Band (from Northampton)
Saturday, January 13th Amboy Dukes plus Surrealist Adventure
Saturday, January 20th Triads plus the Ironsides
Saturday, January 27th Milton James and the Harlem Knock-out, plus Sweethearts
Saturday, February 3rd James & Bobby Purify plus Surrealist Adventure plus Rio Moody Dancers (Another Tempest fake?)
Saturday, February 10th Bobby Johnson and the Atoms plus Vfranie
Saturday, February 17th Edwin Starr plus Motiv (Another fake?)
Saturday, February 24th Equals plus Magic Roundabout
Saturday, March 2nd Guy Hamilton Sound plus Sweet Heart
Saturday, March 9th Jimmy Cliff with Wynder K Frog, plus The Heretics
Saturday, March 16th Pesky Gee! plus The Trade
Saturday, March 23rd Aynsley Dunbar Retaliation
Saturday, March 30th Chicken Shack with Christine Perfect
Saturday, April 6th La Pelle Nero plus Howling Robin and his Cool Cats Girls a go go
Sunday, April 7th The Symbols
Saturday, April 13th Riot Squad plus Blue Magnum
Saturday, April 20th Herbie Goins and the Nightimers, plus Howling Robin and his Cool Cats
Saturday, April 27th Showstoppers plus Rupert’s Rick N Beckers (NO SHOW)
Saturday, May 4thNepenthe with backing group, plus The Trax
Saturday, May 11th Hal C Blake plus Adlib plus Owlin Robin
Saturday, May 18th Savoy Brown Blues Band plus The Friction
Saturday, May 25th Skip Bifferty plus disco
Saturday, June 1st Chantells plus Wild ‘n Silk Band, Sue Spencer, Kirk St James. Stage 2 Simon K and the Meantimes
Saturday, June 8th Family
Saturday, June 15th The Taste plus Soul Bucket Show
Saturday, June 22nd Honeybus plus Art (from Leicester with John Deacon on bass)
Saturday, June 29th Four Kents plus Submarines
Saturday, July 6th Freddie Fingers Lee plus Bubblegum
Saturday, July 13th Simon K & the Meantimers plus Trax
Saturday, July 20th Dr K’s Big Blues Band, plus Rupert’s Rick ‘n Beckers
Saturday, July 27th Pesky Gee! plus disco
Saturday, August 3rd Jethro Tull
Saturday, August 10th Vanity Fair plus disco
Saturday, August 17th Aynsley Dunbar Retaliation
Saturday, August 24th Freddie Mac & Mac Sound
Saturday, August 31st Lloyd Alexander Real Estate plus Donnell Jackson & Broadway Crowd
Saturday, September 7th The Taste plus the CAT Roadshow with US Flattop
Saturday, September 14th Lucas and the Mike Cotton Sound
Saturday, September 21st Billy Davis plus Bubblegum
Saturday, September 28th Simon Dupree and the Big Sound, plus The Krisis
Saturday, October 5th Cuby and The Blizzards (from Holland), plus Simon K and the Meantimers
Saturday, October 12th Fearns Brass Foundry
Saturday, October 19th Foundations plus The Market
Saturday, October 26th Fantastics (USA) plus The Trax (They had previously played the Tin Hat as the Fabulous Temptations)
Saturday, November 2nd Fleetwood Mac, Duster Bennett, plus Chris Shakespears Globe Show
Saturday, November 9th Oscar Toney Junior plus Apex Big Roll Band
Saturday, November 16th Flirtations plus Chris Bartley & group
Saturday, November 23rd Black Cat Bones plus Bubblegum
Saturday, November 20th The Taste plus Sonny Burke Show
Saturday, December 7th JJ Jackson backed by Kippington Lodge
Saturday, December 14th The CAT Roadshow feat US Flattop
Saturday, December 21st Wynder K Frog
Tuesday, December 24th New Formula
Saturday, December 28th Ferris Wheel? (no separate advert)
Tuesday, December 31st Bubblegum
1969
Saturday, January 4thSimon K & The Meantimers
Saturday, January 11th Radio1’s Mike Raven plus Hal C. Blake
Saturday, January 18th Ray Williams and his Grenades
Saturday, January 25th Sasparella
Saturday, February1st Plastic Penny
Saturday, February 8th Paul Williams Set (Formerly the Alan Price Set)
Saturday, February 15th 20th Century Show
From February 22nd The adverts suggest that the venue had changed hands. The adverts have KAWMC printed on them. Had the club been taken over by the Kettering Athletic Working Mens Club? Within a few weeks the adverts had moved from the main entertainments page to the ‘Around the clubs’ page.
Saturday, February 22nd (KAWMC) The Decoys & Disco
Saturday, March 1st (KAWMC) Simon K & Meantimers
Saturday, March 8th Closed for redecorating. Re-open April 5th
Saturday, April 5th Soul Express plus The Ketas
Saturday, April 12th Noel & The Fireballs plus Shelley Tane
Saturday, April 19th Ruby James & Sound Trekkers
Saturday, April 26th Freddie Noaks & The Rudies, plus Herbal Remedy
Wednesday, April 30th Disco every Wednesday
Saturday, May 3rd Status Quo
Saturday, May 10th Killing Floor
Saturday, May 17th The Ebonies
Friday, May 23rd Sand
Saturday, May 24th Jerome Arnold Band
Saturday, May 31st Scorpions
June Mondays TTT Disco
Friday, June 6th Disco
Saturday, June 7th Mandrakes
Saturday, June 14th Wellington Kitch
Saturday, June 21st Moth
Friday, June 27th Theodore Green
Saturday, June 28th The Variations
July Fridays TTT Disco
Saturday, July 5th Monday Morning Glory Band
Saturday, July 12th Simon K & Meantimers
Saturday, July 19th Ace Kefford Stand (former Move bass player)
Saturday, July 26th The Axe with Rodger Bloom
Saturday, August 2nd No Advert in paper
Saturday, August 9th Cherry Blossom Clinic
Saturday, August 16th Sand
Saturday, August 23rdPtarmigen
Saturday, August 30th Killing Floor
Saturday, September 6th Clouds
Saturday, September 13th Lions of Juda (from Israel)
Saturday, September 20th Herd (after Peter Frampton had left them)
Here are photos of a 1965 WPGC show featuring the Cobras, a group that is unknown to me. They have a great look, and I’d love to know who they were and if they recorded.
It’s interesting to see Link Wray at the show, along with Bob Rubino, who was recording his single “A Rose and a Baby Ruth” / “Lonely Boy” at Link’s studio in Accokeek about this time.
Link would record a number of teen groups in 1966 for his Gray Ant label and the Vermillion label, including:
The Dead Beats -“She Don’t Love Me” (Rick Maske) / “I’m Sure” (Bob Coleman) The Hard Times – “I Can’t Wait Till Friday Comes” / “(Old Wine) New Bottles” The Suburbans – “The Love That I Had” (Roby, Murphy) / “Talk to Me” (Murphy)
I haven’t found any mention of the Cobras in connection to Link.
WPGC DJ Dean Griffith is represented. Dean Griffith was a house name at the station, and this was one of four people that had that moniker – anyone know his real name?
I’m not sure the venue, maybe a gymnasium in the Washington, DC area, or perhaps the DC Armory which did host some shows during these years.
I could not find a newspaper listing for a show with the Cobras, but the Daily Times of Salisbury, Maryland announced a teen dance on April 17, 1965 at the Wicomico Youth and Civic Center, sponsored by Pocomoke High School and Pocomoke City station WDMV.
Joey Reynolds of WKDW, Buffalo, NY acted as host. The bands were the British Walkers, Link Wray and the Wraymen “with Rob Rudino, guitarist, and a local group called the Astro-Tones”.
The Astro-Tones also played a dance at the Boggs-Disharoon American Legion in Berlin, MD on April 3.
Sarah Minney, who does military research at the National Archives, got in touch as she had come across some photos of an unknown British band(s), dating from the 1958-1961 period.
She very kindly passed on the photos, which I have included here. We would very much like to hear from anyone who might be able to identify the musicians and the band(s).
There are no details, although one photo is dated 13/4/58 and another is June 1961, which I have listed above.
The photos were bought at an auction and came with a photo of west London band Jeep Rongle but it’s not clear if any of these musicians were in this unknown band. Another photo has a Wrexham address on the back.
The Beau Havens had one record, the fantastic “Elizabeth” / “Feel So Good” on Gama Records 45-705 from September, 1966. The photos seen here were taken about a year earlier, in 1965.
I’m trying to decipher the hand-writing on this card, so members’ names may not be spelled correctly. Any help would be appreciated:
John Colgan – drums, vocals on “Feel So Good” Kerry Miller – lead guitar Jim Whelan – lead vocal on “Elizabeth” Allan Hurdle (or is it Allen Hurdle?) – guitar Tom Whelan – piano
Kevin Miller – manager
The group were all young teenagers in ’65.
Belle Haven, VA has been listed as their town of origin, however that eastern shore town is nearly four hours drive from the Springfield, Virginia American Legion Hall where these photos were taken.
The Beau Havens were actually from the Belle Haven subdivision south of Alexandria, VA, in Fairfax County (tip of the hat to Chris Farrell for pointing out the correct Belle Haven).
A neighborhood newsletter, the Belle Haven Tribune, from May 7, 1965 featured the group. The newsletter spells the brothers names as Tom Whealen and Jim Whealen.
A Pi Alpha Gamma banner appears behind the group, and it’s likely the Beau Havens shared the bill with the Londoners and the Roaches.
Jim Whelan wrote and, I think, sang lead on “Elizabeth”.
Rick Fulton wrote “Feel So Good”. I’m not sure if Rick was a later member of the band or simply a friend. Johnny Colgan appears to have sang lead on this side.
Both songs likely were cut at Edgewood Recording Studio at 1627 K Street, N.W. in Washington D.C. A couple of Edgewood acetates of the single exist. On one the song has the title “She Makes Me Feel So Good”, corrected in pen to “She Makes Me Feel Right”.
Doesn’t sound like the Beau Havens had a keyboard player on the record. Claiborne Music published both songs.
More info on the Beau Havens would be appreciated.
Update May, 2022:
Danny G purchased a guitar in the D.C. area and the name on the case helped him trace it to this post, where it is clearly the guitar in the last photo above. Below are some interesting photos of this custom-made guitar provided by Danny along with his description:
Likely a neck taken from an unbranded Kay guitar and put onto a solid chunk of mahogany (?). The white paint was to emulate the pickguard on a Höfner bass.
The guitar uses two Lafayette pickups, a 99-4536 in the neck which is a screw on pickup made for jazz arch top guitars and a PA-297 acoustic soundhole pickup in the bridge. The guitar has a really unique sound because of the odd choice of pickups, and that’s part of the reason I bought it.
The bridge pickup came with an RCA input and he simply repurposed it as the main input.
Clifford Herring and Sound City were two separate recording studios at the same address, 1705 W. 7th St. at the corner of Fournier St. in Fort Worth.
Clifford Herring opened his studio in the 1930s or early ’40s, a large room that could fit an orchestra or big band. Herring recorded many country, rockabilly and pop records, most famously Bruce Channel’s “Hey! Baby” and Paul and Paula’s “Hey Paula”, both produced by Major Bill Smith.
Besides the recording studio, Clifford Herring Sound Equipment Co. sold, rented and installed film, dictating and sound equipment, and also had a Muzak business.
The Motovators recorded a demo there on March 4, 1965, one of the last artists to use Herring’s studio.
On April 2, 1965, the Star-Telegram reported:
Radio station KXOL has purchased Clifford Herring Sound Equipment Co. for more than $200,000, The purchase includes the Herring firm’s recording studio and sound equipment operation said Wendel Mayes Sr. of Brownwood, president of the broadcasting station.
Earle Fletcher, the station’s vice president and general manager announced Thursday. Extensive remodeling of the Herring building at 1705 W. 7th will begin immediately with occupancy expected about June 1. The building will house the station’s AM and FM broadcasting studios, news facilities, sales offices and other departments.
Fletcher said remodeling of the Herring building will give the station more than double its present space at 3004 W. Lancaster.
KXOL renamed the Herring business Sound City, Inc. I believe Herring’s large recording room was converted into KXOL’s studios or office. The new Sound City Recording Studios opened in the basement below KXOL’s studios.
KXOL sold off the equipment and rental parts of the business to Thomas Electronics at the end of 1965. I’m not sure when KXOL sold the basement studio, but I’ve read the owners were Jim Rutledge and, apparently, T-Bone Burnett (Joseph Henry Burnett III) though he was only 17 in 1965.
Phil York became a house engineer at Sound City. York had worked with Dewey Groom at Echo Sound in Mesquite and would go on to work at Autumn Sound in Garland. While at Sound City he cut his own demo as Philip & the Yorkshires, “Once Again” / “Someone To Love You”, that was not released to my knowledge. York’s name appears in many classified ads run in 1966 and 1967 trying to drum up business for the studio.
A November 27, 1968 article notes that the studio was “recently sold to Don Schafer Promotions of Dallas”. Frank Henderson was another engineer at the studio about this time.
Perhaps the biggest hits recorded at Sound City were by the Van Dykes, such as “Never Let Me Go”, “No Man Is an Island”, “I’ve Got to Go On Without You”, and “You Need Confidence”, all produced by Charles Stewart and released on Mala.
T-Bone Burnett was usually referred to as Jon T. Bone on record labels during his Sound City time.
The Loose Ends included Burnett, Don McGilvray and David Graves, their singles “Free Soul” / “He’s a Nobody” (produced by Stan Rieck) and “Dead End Kid” / “Verses” were released on Mala, with co-producer credits to Burnett and Charles Stewart.
It would be interesting to assemble a discography of releases made at Sound City, but it’s an impossible task without documentation. Besides the ones mentioned above, it would include:
Brownfield BF-33 – The Rondels – “I Lost My Love” / “Crying Over You” Brownfield BF-1034 – Arthur Noiel - “It’ll Make You Holler” / “She Don’t Love Me” Brownfield BF-1035 – The Barons – “Don’t Burn It” / “I Hope I Please You” Brownfield BF-1037 – The Rondels – “You Made Me Cry” / “I Cry Cause I Care” Brownfield BF-1038 – Bruce Channel - “Don’t Go” / “The Actor” Brownfield BF-1040 – Jerry Williams & the Epics – “Whatever You Do” / “Tell Me What You See”
Cee Three – The Mods – “Days Mind the Time” / “It’s for You”
Cherry 101 – Charles Christy and the Crystals – “Cherry Pie” / “Will I Find Her”
Emcee Records - E-014 – The Gnats – “That’s All Right” / “The Girl”
Fat 12966 – Little Joe and the Gentlemen - “This Land” / “Stagger Lee”
Hue 375 – The Musical Training School – “Don’t You Fret” / “I’ll Go” (arranged by Jon T. Bone, produced by Charles Stewart) Hue 377 – James Mays – “Nothing’s Bad as Being Lonely” / “Gotta Make A Move”
Jan-Gi T-91 – The Trycerz – “Almost There” / “Taxman”
Psycho-Suave’ - PS-1033 – The Legendary Stardust Cowboy – “Paralyzed” / “Who’s Knocking at My Door” (picked up by Mercury)
Soft S-1008 – Roman Chariot - “Five Sensations” (arranged by John T-Bone) / “Cool” Soft S-1033 – Johnny Nitzinger – “Plastic Window” / “Life of John Doe” (produced by John Burnett and Charles Carey)
Sound City acetates or tapes:
Charles Christy & the Crystals – various titles (info to come)
The Cynics – “I’ll Go” / “Don’t You Fret”
Jackie Layne (with the Pathfinders) – “Give a Little, Take a Little” / The Galaxies – “Someone To Love You”
Larry & the Blue Notes – “In and Out” (early version) Larry & the Blue Notes – “Train Kept a Rollin'”
The Mods – “Evil Hearted You”
Rising Suns – “I’m Blue” / “Little Latin Lupe Lu” + two other cuts
Some tracks on the Galaxies CD collection Think About The Good Times were cut at Sound City, but I don’t have that release on hand.
LPs:
The Abstracts on Pompeii
The Yellow Payees cut one song from their Volume 1 album, “Never Put Away My Love For You” at Sound City.
Whistler, Chaucer, Detroit, and Greenhill – The Unwritten Works of Geoffrey, etc. , a Sound City studio group of two former members of the Mods, Scott Fraser and Edd Lively, with Phil White, David Bullock and John Carrick. Produced by Burnett.
Thank you to George Gimarc for help with this article.
Sources included: Frank Gutch, Jr., “Lost in Space: The Epic Saga of Fort Worth’s Space Opera” from the No Depression site is an excellent read with detailed information about later Sound City sessions.
David Campbell and Larry Harrison – notes to Fort Worth Teen Scene! volumes 1-3 on Norton Records.
Topaz were a vocal harmony group formed in 1969 after Robert Valentine left The Button Hole Band.
The band comprised (left to right): Ian Edlin (vocals), Roy Burchell (drums), Jan Edlin (vocals), Keith Richard (lead guitar) and Robert Valentine (bass/vocals).
The Stardusters went professional in 1963 when they changed name to Unit 4 (no relation to the Ealing band nor the better known Unit 4 Plus 2) to back HMV recording artist Ricky Bowden.
The band comprised (as shown in the above photo, left to right):
Robert Valentine (rhythm guitar)
Brian Ranger (bass)
Graham Willeard (drums)
Richard Miles (lead guitar)
In 1964, Valentine went on to form The Clockwork Oranges.
Formed by Valentine and Parish in early 1968 when The Clockwork Oranges broke up, Brian Brockie had previously played with The Honey Band. The group played at the Witchdoctor in Catford and on one occasion (most likely 17 February), they supported Marmalade.
Thanks to Robert Valentine for the photo and history
The Clockwork Oranges were formed in early 1964 and were based in southeast England, playing various ballrooms, clubs and dances. When the band split up in 1967, Roger Cotton went on to join Johnny Johnson’s Bandwagon, Brothers Grimm, Peter Green’s Splinter Group, and Buddy Whittington, playing keyboards. Robert Valentine and John Parish formed The Button Hole Band. Cotton passed away in 2016 but the remaining three are still around and Valentine continues to perform.
Many thanks to Robert for providing information about the band
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