The Legends first single “Why” / “Baby Get Your Head Screwed On”

Legends Up 45 Baby Get Your Head Screwed On“Why” / “Baby Get Your Head Screwed On” was the first single by the Harrisburg, Pennsylvania group the Legends, who are best known for their devastating 1969 psych single “High Towers” / “Fever Games”.

This lineup of the Legends was:

Larry Swartzwelder – lead guitar
Dan Hartman – keyboards
Derek Parsons – bass
Ralph Schwartz – drums

Earlier members of the band included Dave Hartman guitar and vocals and Denny Woolridge bass; later members included Gene Brenner guitar, Joe Caloiero bass and vocals, Dave Cope on bass, and Larry Sadler on drums.

The Legends story is told elsewhere in some detail, but there is little about this release on the internet.

The A-side is an original by Dan Hartman, “Why”, featuring a soulful vocal over a backing dominated by the organ.

The Legends probably found “Baby Get Your Head Screwed On” from the version by the Double Feature, a British duo from Birmingham, Bill Hall and Brian Lake. Double Feature had two singles on Deram, both of which saw release in the US. It’s also possible the Legends heard the song on its composer Cat Stevens’ first album, Matthew and Son which also had a US release in 1967.

Legends Up 45 WhyJohn Ulrich produced the single, and published “Why” through John Ulrich Music. Gene Eichelberger engineered the single, released on Up Records 2202-7-13. The single is styrene, with X-5291/2 etched in the deadwax.

Dan Hartman designed a picture sleeve with a crude b&w drawing very similar to the sleeve for the Blues Magoos “Pipe Dream”. It was not used for the single until many years later, when Billy S. reproduced the drawing with a discography on the back to sell a small amount of copies of the original single. Thank you to Thomas Grosh for sending in the scan.

Legends UP later PS Baby Get Your Head Screwed On
PS made years after the original release.

Up Records was part of Bridge Society Records which had some other fine releases including:

The Shan-Dells ‎”Chimes” / “Little Girl” and their soul classic ” I’ve Got To Love Her” / “Idle Excursion”
The Evil “I” – “Love Conquers All” / “Can’t Live Without You”
The Legends second single, “Keep On Running” / “Cheating”

Info on band lineups from the Arf! Arf! compilation High Towers [1965-1973].

Dexter and the Derbies

Dexter and the Derbies photo Limestone Democrat, January 23, 1968
Dexter and the Derbies, January 1968, from left: Dexter Greenhaw, Dennis Brooks, Danny Ausley and Mark Gamble

Dexter and the Derbies Derby 45 Time

Dexter and the Derbies came from Athens, Alabama, a small city about 95 miles north of Birmingham, and 99 miles south of Nashville, TN.

The Limestone Democrat newspaper featured this photo of Dexter and the Derbies on the front page of the January 23, 1968 issue. The band was part of the International Rodeo Association convention in Nashville. The members were:

Dexter Greenhaw – lead guitar
Dennis Brooks – drums
David (Danny) Ausley – rhythm guitar
Mark Gamble – bass guitar

Dexter and the Derbies cut only one single, released in August 1967 according to Teen Beat Mayhem. The band members would have been about 12 years old when recording the songs.

The top side is the intense “Time”, written by J. Greenhaw who seems to be Dexter’s brother Johnny Greenhaw. I can’t make out all the lyrics but one verse goes “Everybody wants to be loved and romanced, but nobody, I mean nobody will give a second chance”.

Rochelle Frazier and Buck Peddy wrote “They Wouldn’t Dare”, registering the song on December 9, 1965, almost two years before Dexter & the Derbies recorded it. The lyrics tred similar ground to the Barbarians’ “Are You a Boy or Are You a Girl” from earlier that year.
Dexter and the Derbies Derby 45 They Wouldn't Dare

The girls wear pants now and also shirts,
Pretty soon the boys will be wearing skirts.
Now don’t tell me that they wouldn’t dare,
If you don’t think they would take a look at their hair.

Now you don’t touch when you dance these days,
In fact your partner moves far away.
How can you hold anybody tight,
When they twist and turn right out of your sight.

You ask your neighbor if that’s his girl,
She looks so pretty with her long blonde curls.
That’s when you feel when like you ought to run,
When he says “that’s not my daughter, it’s my teenage son!”

Now don’t tell me that they wouldn’t dare,
If you don’t think they would take a look at their hair.

Buck Peddy wrote songs with Mel Tillis among others. He seems to have produced this single, and his Peddy Music published both songs. Released on Derby Records 1313 out of Nashville, Tennessee, the labels show Sound of Nashville master numbers SoN 48941/2.

Dexter Greenhaw graduated high school in 1973, then studied music at the University of North Alabama. He directed the band at Clements High School, and also had a band called Denim. Dexter passed away in March, 2007 of ALS at the young age of 52.

Source: info on Dexter Greenhaw from a News Courier article in March, 2007.

The Charvonnes of Brownfield, TX

Charvonnes Shyles Klan Brownfield News, May 18, 1967The Brownfield News profiled a local combo the Charvonnes on May 18, 1967 for the upcoming Jaycees battle of the bands in the high school auditorium.

The Charvonnes were:

Shad Brooks – drums and vocals
Brad Moore – bass and vocals
Mike Ellis – rhythm guitar
Mike Richardson – lead guitar and vocals

Other bands in the competition included the Shyles of Levelland, Sonic Union from Denver City, the Klan from Tahoka and No Nombres from Lubbock.

As far as I know, none of these bands ever recorded.

If you have any photos or info on any local Texas bands of the ’60s, please comment below or contact me.

The Avantis of Brownfield, TX

The Brownfield News announced a local group the Avantis won a battle of the bands at the Brownfield High School auditorium in April, 1965.

The Avantis members were:

Lee Gillentine – lead guitar
Terry Davis – rhythm guitar
Doug Sewell – bass and vocals
Max Ball – saxophone
Maxie Murry – drums

Brownfield is a rural town southwest of Lubbock. Other groups included the Sessions, Nitebeats and Imperials.

As far as I know, none of these bands ever recorded.

If you have any photos or info on any local Texas bands of the ’60s, please comment below or contact me.

Levi Strauss & Co. Salesman’s Record 1968

Levi Strauss & Co. Salesman's Record 1968 Side 1

Levi Strauss & Co. Salesman's Record 1968 Side 2The 1967 Levi Strauss & Co. Salesman’s Record is well-known for its tracks by the Jefferson Airplane, Sopwith Camel and West Coast Natural Gas. That was a 10″ LP, and certain of the Airplane’s tracks were also released in 7″ and 12″ formats. Levi Strauss & Co. was based in San Francisco so it made sense to use local bands for their ads.

In 1968 Levi Strauss released a 7″ Salesman’s record with five short songs, this time without any artist credits that I know of. It was released with an art sleeve of a pattern of horses & cowboys arranged in rings. I don’t know what was on the back of the sleeve as I do not own it.

The 1968 record has some good music, but the songs and ad concept are more generic in style than the 1967 record. Two of the songs sound to me like they were recorded by an actual rock band, not studio musicians. Each music track seems to have been recorded separately from the vocals, as each commercial is followed by 20 seconds or so of music tracks without the vocals, unfortunately at a lower level. Here excerpts from each side below.

I have on good authority that the backing track for “Levi Slim Fits (White Levi’s)” was the Family Stone without Sly, with Freddie Stone leading the band.

Side 1 excerpts
Side 2 excerpts

I’d be interested to know who played on this record. There could be some local artist connections as on the 1967 record. If you have any information or even an educated guess please comment or contact me. Also please contact if you have a good scan of the sleeve.

Bobby and the Blue Denims “Stop and Go”

Bobby and the Blue Denims Statue 45 Stop and GoI can’t find any information on Bobby and the Blue Denims, who cut this single of sax-and-guitar instrumentals. “Stop and Go” is a good bluesy original by Robert B. Hardy. The flip is “Rail Road Rock” arranged by W. Pierce. Cedarwood published both songs.

Released on Statue SR-7637, the L8OW code indicates this was an RCA custom pressing from 1960.

Statue had an address of 146 7th Avenue, North Nashville, Tennessee, which was simply the address of Cedarwood Pub. at the time.

The Aggregation on Dynamic Sound

Aggregation Photo

Aggregation shattered Dynamic Sound 45 CandlestickstompThe Aggregation cut two fine originals, “Candlestickstomp” and “You Lied to Me” for the Dynamic Sound label of Long Island, NY.

Members were:

Russell Javors – lead guitar
Bob Wenmouth – rhythm guitar
Ken Rosenberg – lead vocals and bass
Jim Carey – drums

As you can see, my copy did not arrive in very good condition.

Aggregation Photo School Dance
The Aggregation playing at a school dance

There was very little information about them until I heard from Ken Rosenberg, who sent in the photos seen here and wrote to me about the band:

This is Kenny Rosenberg, better known now as Kenny Owens since 1981, ’82. The group came out of Plainview, NY right next to Hicksville. I was the lead singer & bassist, Russell Javors played lead guitar, Bob Wenmouth played rhythm and Jim Carey played drums. We were pretty young, Jim was I think 13 the rest of us a little older. Russell a year younger than Bob and me. Jim and Bob are no longer present on earth.

The band used to play high school dances and parties and town pool events. Entered the battle of the bands, came in 2nd the first time, next year came in 1st.

We used to practice at 30 Eldorado Blvd in the Carey’s converted garage. We were big fans of the Mersey Sound.

The studio was in a modest house in Hicksville, recorded in the basement and the owner had his own pressing machine. That’s how I remember it.

We also recorded a 5 song acetate. Bob’s wife has a copy. Jim’s family has a copy. I let mine go years ago, in some landfill in Oyster Bay. One of the songs exists with “Candlestick Stomp” in a ten minute indie film … called American Sugar. “In This Placing” was the tune. The Careys tracked me down so they could use it in the film. I do remember we did a version of the stones “The Last Time”.

In answer about other 60’s bands I was in, I was the lead singer for a band called The Clique, we opened for The Young Rascals at Plainview High School, fun show.

Currently I’m an Americana singer-songwriter living in Hendersonville, TN. I record and make records and CD’s when I can. My site is kennyowensthewheatpennies.com .


Ken Rosenberg wrote “Candlestickstomp”. Russ Javors, Ken Rosenberg and Wenmouth collaborated on “You Lied to Me”.

Russ Javors later played guitar in Billy Joel’s band for many years.

Aggregation Photo 2
The Aggregation at a battle-of-the-bands

The Dynamic Sound label

The “WElls 8-7108” phone number on the labels indicates Dynamic Sound was based in Plainview, Jericho or Hicksville, NY.

I know of two released 45s:

Dynamic Sound DY-105 – Aggregation – “You Lied to Me” / “Candlestick Stomp”
Dynamic Sound DY-106 – Born Mean – “Don’t Let the Sun Catch You Crying” / “Shapes of Things” (a Rite vinyl pressing)

I’ve heard four acetate demos from Dynamic Sound, these three have the Wells exchange on the Dynamic Sound label:

The 5 of Us – “One of a Kind” / “But He Promised”
Satan & the Body Snatchers – “Little Young Girl” / “In the Summertime”
The Un-Called Four – “Since You’ve Been Gone” / “Masters of War”

This acetate I’ve heard (and both cuts are excellent) but haven’t seen the label:

The Gothics – “Mover” (instrumental) / “Watch Me Now”

—–

There was a Dynamic Sound label that released singles such as James Ray’s “I’ve Got My Mind Set On You”. Those usually have a “Hutch Davie” production logo and date to a few years earlier.

I doubt there’s any connection with the Dynamic Sound label of Milwaukee, WI.

There are at least two releases from Ohio that feature a Dynamic Sound label. The Born Mean cut “Shape Of Things” / “Don’t Let the Sun Catch You Crying” in 1966. The band may have been from New York but the release on Dynamic Sound 1068 was a Rite pressing from Cincinnati. Then in 1969 comes the Crystal Rain ‎with “You & Me” / “World On Fire” on Dynamic Sound 91101.

My broken copy of the Aggregation was shipped from Ohio so I wonder if there could be some connection?

The Rimfires “Bandstand Step”

The Rimfires had one great single, featuring the rocking vocal “Bandstand Step” backed with “Un-Gowa”.

Members probably included:

Robert Wantuch – drums
Theodore Michael Broskey
Ted Niemann

Ted Broskey is credited with writing “Un-Gowa” on the label, but BMI’s database for Cedarlane publishing also has Bob Wantuch listed as writer.  BMI shows “Bandstand Step” written by all three members.

Released on Sounds of the Rimfires, the code R3KM-9159/60 indicates the 1964 date. I don’t have the record but I assume there is an “I” in the deadwax to indicate RCA’s Indianapolis pressing plant.

The band came from South Bend, Indiana.

Bobby Wantuch’s LinkedIn profile shows he drummed with the Rivieras, Clark Terry, Thad Jones and others besides the Rimfires. In more recent years he is listed as Team Leader at Musicians Friend.

A notice in the South Bend Tribune from May 1, 1964 advertises a “Teenage Rock n Roll Dance” with music by the Rimfires.

A January 1966 article in the same paper lists local bands: the Rimfires, Ravens, Teen- Tones, Trade Winds, Fugitives and Soul Seekers.

The Tradewinds cut “Oop Oop a Doo” / “Floatin'” on Destination 620 in March, 1966.

There was a Fugitives band from Bloomington that released “Sticks and Stones” / “Lonely Weekends” on Dust 1050, but this may be a different band – Fugitives, like the Ravens, being a common band name.

That’s All Rite Mama has an article on the Teen-Tones, listing their three 45s and members: “Mike Ryan on vocal and sax, Ken Kidder on Wurlitzer Piano, Tom Hemminger on Lead, Roger Lacky on Rhythm, Lew Kimble on Drums.”

T&T stands for Tune and Talent Productions, Paul E. Hertel’s publishing and promotion company. That’s All Rite Mama mentions Paul Hertel also managed the Rimfires and that the band became the Music Project.

I could use quality scans of the Rimfires 45 labels.

Debbie Williams and the Unwritten Law on Highland

Debbie Williams Highland 45 Love Seems So Hard to Find

This 45 by Debbie Williams & the Unwritten Law is the best thing I’ve come across in a long while. Both sides feature Debbie’s gravely, country-inflected voice with excellent backing by the Unwritten Law.

Released on Highland 1184 in November 1967, Debbie was a young teen when she recorded this single. An article from the Long Beach Independent on September 19, 1967 gives her age as 13, and that she had been making demos since she was six. She had skated in Ice Follies and Holiday on Ice with her parents and brother Robbie since she was two.

Debbie Williams Highland 45 Ask MeAnother news feature on Debbie from the Santa Cruz Sentinel from February 29, 1968 mentioned her current base in Napa County, and her previous skating in Chicago.

The A-side is “Love Seems So Hard to Find”, with the wild lyric “Today, today he shut me down, because I was trippin’ hard”!

The country feeling is even stronger on “Ask Me”. Highland Records released Debbie’s single as release # 1184. A rare picture sleeve with photos by Fred Endo is viewable on 45cat. Milt Rogers produced, with distribution by by Malynn Enterprises, Inc.

Publishing by Tiltal Music – J. Williams BMI. Tiltal has a number of other noteworthy copyrights, including the Phonetics “What Good (Am I Without You)” by Willie Hutchison on Trudel, and a few on Kerwood Records such as Jessie Hill’s “I’m Tellin’ You People” / “If I Am Lucky”, the Tormentors “Didn’t It Rain”, and Lonnie Russ “Say Girl” by Gerald Russ and Harold Williams.

The Unwritten Law

Unwritten Law Strata 45 Actions Speak LouderJim Farrelly and Ken McCutcheon wrote both songs on the Debbie Williams single. Both were members of the Unwritten Law, a group from Burlingame whose lineup included at times:

Jerry Ellsworth
Jim Farrelly
Marty Eyestone (or Marty Gyestone according to one mention online)
Ken McCutcheon
Pat Patterson
Greg Raneri
Dan Ransford – drums

The Unwritten Law had their own single in 1967, “Actions Speak Louder” by Marty Eyestone b/w “This Whole World Is Blind” by Ken McCutcheon. This saw release on Strata Records, which I had thought was an East Coast label based on singles by the Deadbeats, the First Four and the Persianettes. Jerry Katz also produced the Deadbeats “No Second Chance” / “Why Did You”. How the Unwritten Law single came to be on Strata is a mystery to me.

Rob Farrelly helpfully clipped both of the articles on Debbie from online news sources, which helped me find them.

Wilshire Express aka the Ron-Dels “Lose Your Money”

Wilshire Express Austin 45 Lose Your MoneyThe Wilshire Express is an interesting release that deserves a quick look. Despite the Austin Records label name, this was one of Major Bill Smith’s labels such as Charay and Le Cam out of Fort Worth, TX, almost 200 miles from Austin.

The Wilshire Express version of “Lose Your Money” is actually identical to the Ron-Dels hit on Smash, except for the lead vocals. Hard to say if it’s an alternate Delbert McClinton vocal, or merely someone imitating him. In any case the backing is identical, even the guitar solo and harmony vocals. The Wilshire Express version of “Lose Your Money” made it onto Highs in the Mid Sixties Vol. 23 without the compiler realizing it was basically the same recording as the Ron-Dels.

The Ron-Dels were from Fort Worth, the lineup on their Smash singles consisting of Delbert McClinton, Ronnie Kelly, Billy Wade Sanders, Jimmy Rogers on bass, and possibly Jerry Foster or Dahrel Norris on drums.

“Lose Your Money” was written by Mike Pinder and Denny Laine and was in fact the Moody Blues’ first UK single. “Lose Your Money” would get more exposure as the B-side to the US release of “Go Now”, where the Ron-Dels took their version.

The Wilshire Express B-side “Carla” is an easy listening instrumental and obviously from a completely different source. Both sides list “A Maridene Production”, and “Carla” has Freddy Crane on piano.

I’ve seen a September 1966 release date for the Wilshire Express single. The runout has “Maridene” “M 107” suggesting it was intended for Maridene Records, another Bill Smith label. If so it would have fit between Gene Summers remake of his earlier hit “Big Blue Diamonds” and Zuma’s “Hot Pants”, and the proper release date should be 1970 or 1971.

To make matters more confusing, on youtube I find a Wilshire Express single with the same release number, Austin Records A-322 with a version of Bruce Channel’s “Hey! Baby”: another Texas artist with a hit on Smash produced by Bill Smith. This time it’s a new recording actually done by the Carolina Tikis, a group who had recorded as Sunny & the Carolina Tikis for Charay (Sunny Threatt).

The site for '60s garage bands since 2004