Categories: Ace Recording Studios (Boston), Coachmen Record Company, Concord, Decca custom 200,000 series, New Hampshire

The Royal Coachmen “Lollipop” / “Bama-Lama”

January 13, 2019 Chris Bishop Leave a comment

The Royal Coachmen cut two fine, fratty rockers for their own Coachmen label in June of 1966. “Lollipop” sounds like it could be an original, while “Bama-Lama” is a rewrite of Little Richard’s “Bama Lama Bama Loo”.

A friend of the band commented on social media that Joe Labontee sang and played rhythm guitar, Alan Parker played bass, and John “Pudgy” Alosa played drums. They were students at Bishop Brady High School, class of 1967, in Concord, New Hampshire. He added that “the lead guitar player on those recordings was a hired gun named Dick Clark, I believe”.

A. Parker is credited for both songs. ASCAP has both songs listed in their database, but mixed in with the compositions of British soundtrack composer Alan Frederick Parker.

The numbers 200,914 and 200,915 on the labels refer to the Decca custom pressing code, often used for New England records, but there were pressings for groups from Pennsylvania and beyond. The Sea Music Pub. (ASCAP) was located at 1 Boylston Place in Boston, MA.

1 Boylston Place was also address of Ace Recording Studios, owned by Milton and Herbert Yakus, with William F. Ferruzzi chief engineer.

Thank you to Jim M. for forwarding info on the group to me.

Categories: California, Calmis, Jackson, Mississippi, Unknown

Apperson Jackrabbit “That’s Why” and “Shadows Falling”

January 11, 2019 Chris Bishop 1 Comment

The Apperson Jackrabbit have remained a mystery despite the quality of their single on Calmis. One side is the brooding “That’s Why” which has long been a favorite of mine after hearing it on Tony the Tyger’s Fuzz, Flaykes, & Shakes Vol. 4: Experiment in Color. The flip is the intense “Shadows Falling”.

Both songs were written by Steve Curtis and Mike Simmons, and it was released on Calmis 45-001 in the first half of 1967. The record is most often found in California, but a contributor to 45cat, Deadwax, found an address for the song publisher, Sival Music at 335 N Southland Dr. in Jackson, Mississippi 38212 in the The Musician’s Guide: The Directory of the World of Music (1980). If this seems an unlikely connection, it makes much more sense when looking at the label name, Calmis (Cal-Mis, get it?). What that connection is, I have no idea at this time. Nothing else was released on Calmis that I know of.

The band was named after a stylish line of autos manufactured in Kokomo, Indiana in the early twentieth century.

There is another 45 by the Apperson Jackrabbit, “Candy Cane Sound” (John R. Bicknell) and “More Than Just Friends” (Stan Smith), on Steamer Records 001 with publishing by Club Miami. I don’t have this record, but I suspect it is a different group as the credits are completely different and the pressing was done at King instead of an RCA custom.

I did find one listing for a group called the Apperson Jack Rabbit with Smokey playing at the Sleeping Lady Cafe in Fairfax, CA in 1973, but that seems to be too many years out to be this group.

Categories: Jamaica, Not garage

Bob Marley & the Wailers longer version of “Trench Town Rock”

January 10, 2019 Chris Bishop 2 Comments

This is the US issue of the original 1971 version of “Trench Town Rock” by Bob Marley & the Wailers, issued by G & C Records C&G-5000.

Like the first Jamaican Tuff Gong issue, this US version clocks in at 3:29. The last thirty seconds contain the verse: “Don’t call no cop, we can trash things ourselves, got no snacks on the shelves, but let me tell you behave yourselves”. These thirty seconds do not appear on later Tuff Gong pressings, the UK Green Door 45, or the African Herbsman LP on Trojan, among other issues, which time at about 2:59.

I’d like to know exactly which Tuff Gong issues have the longer version, only the ones with red text & logo, or do any with a blue printed logo or handwritten labels.

Interestingly, this longer version has what sounds like an edit about 3:02 into the song, so possibly the ending was grafted from another take. The instrumental version on the B-side, titled “Grooving Kingston” on this release, or “Grooving Kgn. 12” on others, times at 2:59 on all releases I’ve heard.

This seems to be the only release on G & C Records.

Categories: Maine, Music Associates, Inc., Rumford, Sanford

The Velvet Seed “Flim Flam Man”

January 9, 2019 Chris Bishop 6 Comments

The Velvet Seed started in Rumford, Maine. Members were Joyce Gallant, David Gallant, Jim Archer, Don Levesque and Mike Arsenault.

I couldn’t find info on the Velvet Seed until Mike Ronan Sr. commented below. I read they were from Sanford, Maine, and Max Waller wrote they had several unreleased songs including a version of the Byrds “Feel a Whole Lot Better”, but the publishing and distribution on their single point to Massachusetts connections.

Bob Bourassa produced the single and wrote the A-side, “Sharon Patterson” and co-wrote the great “Flim Flam Man” with Donald Levesgue (BMI has it as Donald Loveque, though I think should that be Donald Levesque).

Robert Guy Bourassa has one more credit in BMI’s database, “Believe Me” with Angela M. Puzzuoli, but I see by comments below that this is a different Bob Bourassa.

The single was released on Music Associates, Inc. MAI 45-201 in November 1968 (this is not the M.A.I. label from Kentucky).

Tepajo Music publishing and Sounds of Music Distributing, Inc. are also listed on the label. These have several tangential connections to the Velvet Seed’s single.

Listings for Tepajo first appear in 1964, with an Arlington, Massachusetts address. In August 1969, Billboard’s Buyer’s Guide lists “Tepajo Music (BMI) div. of Big Yellow Productions, Inc. 63 Main St., Maynard, MA 01754, Pres.: Bruce Patch; Gen. Mgr.: Robert J. Jordan”.

If Tepajo includes “pa” from Patch and “jo” from Jordan, then can I assume “Te” must stand for Teddy Dewart of Teddy & the Pandas?

Bruce Patch has an extensive list of production credits, including most of the Teddy & the Pandas singles on Coristine, Musicor and Timbri record labels and the Timothy Clover LP on Tower. “Tea-Pot Production” is likely also Patch.

Tepajo did some eclectic song publishing, including Stark Reality’s ‎”Say Brother” and Bonnie Floyd And The Original Untouchables ‎”I’m So Lucky”, both on the Big Yellow label (also with Sounds Of Music Distributing Inc. credits).

I notice most of the record companies Patch was involved use yellow for their labels’ background color. This is true of Coristine, Timbri, and Big Yellow.

On August 9, 1969, Record World and Billboard both mention Tepajo publishing as being housed with Buck Spurr’s Oracle Records in Brookline, MA. I have not found Patch’s name in the credits of Oracle Records, which is most notable for releasing singer Jimmy Helms, and the Brother Fox And The Tar Baby LP.

OK, a lot of dead ends, but the story of the Velvet Seed is out there somewhere.

Anyone have photos or info on the group?

Categories: Alabama, RHM, Sheffield

The Cherades “My Little Red Book”

January 7, 2019 Chris Bishop 1 Comment

The Cherades are an unknown group who covered two hits from ’65 and ’66 for release on RHM Records 1001/1002. Their version of Love’s arrangement of “My Little Red Book” is very good, I’d say this was a studio group except the lead singer sounds unpolished. It was backed with the McCoys’ “Sorrow”.

The single was produced by Jimmy R. Johnson, the session guitarist who would become co-owner of Muscle Shoals Sound Studios. These were most likely cut at FAME Studios in Muscle Shoals, Alabama, where Johnson produced the Rockin’ Rebellions excellent “Don’t Let Go” / “Anyway the Wind Blows” for Gold Groove 111.

RHM Records has an address of 411 N. Atlanta Ave, in Sheffield, Alabama. The deadwax of SIMS RHM 1001 / RHM 1002 with a “Nashville Matrix” stamp indicates this may have been considered for the Sims label owned by Russell Sims, who had released many soul singles cut at FAME.

Oddly the labels show correct publishing for “Sorrow” but list “My Little Red Book” as “Pub. Unknown”!

Max Waller wrote to me that he had a note from an unknown source listing “members include Ronnie, Joe, Frankie”.

Categories: Oregon, Portland, Scepter

The New Yorkers “Things Are Changin” – Early Hudson Brothers

January 3, 2019 Chris Bishop 3 Comments

“Things Are Changin” is the very first single by the New Yorkers, who would cut the classic “Mr. Kirby” for Scepter before going on to greater fame as the Hudson Brothers. The group started in 1965 as the My Sirs in Portland, Oregon. Members in the early years were:

Bill Hudson – guitar, vocals
Kent Fillmore – guitar
Brett Hudson – bass, vocals
Mark Hudson – drums, vocals

In 1959, Jim Bailey, a DJ at KAGT in distant Anacortes, Washington, had produced the Swags “Rockin’ Matilda” on his Westwind Records label. He was able to promote it to Del-Fi for national hit release in 1960. Bailey is listed as co-writer of “Rockin’ Matilda” with Swags guitarist Gailen Ludtke, and he published the song through his Skagit Music Company. He’s noted as booking acts in the Pacific Northwest, but I can’t find much about Bailey’s recording activity until he reappears with the New Yorkers in 1966.

Bailey heard a few demos the My Sirs had cut with $40 in an unnamed studio and set up a sponsorship with Chrysler. Bailey renamed the group the New Yorkers after the Chrysler auto, and found another group, possibly also from Portland, and named them the Fury Four after the Plymouth Fury (also made by Chrysler).

Labeled “A Gift for you from the 1967 Go Show”, Bailey released a 45 with the New Yorkers singing their catchy original “Things Are Changin” on Santana Records SAN 6602-A / SAN 6603-A, NW-1 / NW-2. On the other side is the Fury Four’s “City Girl” (written by D. Ford) with harmonies and fuzz guitar throughout. Skagit Music published both songs.

An article from the June 15, 1967 Idaho Free Press shows that the New Yorkers toured to promote Chrysler right up to the release of their second Scepter single:

TEEN SCENE
Group Tells Tour Plans
The New Yorkers, who recently were heard in Nampa, next plan a 21-day record-promoting tour around the nation. They write all the songs they record, and plan a new album for release this fall.
The New Yorkers recently played their last Chrysler Go Show performance at Nampa. Members of the group are: Bill, lead guitar, Brett, bass guitar; Mark, drums; and Kent, rhythm guitar. Upon completion of the Chrysler Go Show, the New Yorkers will now go on a 21 day tour around the nation to promote their new record, “Mr. Kirby,” to be released this month.
Flip side of “Mr. Kirby” will be either “Seeds of Spring” or “Show Me The Way To Love”. All of the songs the New Yorkers record are written by them. The current release by the New Yorkers, “When I’m Gone” failed to move nationwide. In July the group plans to go on tour with Herman’s Hermits. They have just finished a tour with Don and the Goodtimes in Washington and Oregon. The New Yorkers record on the Sceptor label in Seattle and Los Angeles. An album is planned for release this fall.
Mark Hudson, the drummer, does most of the singing for the group. It is his voice that is heard on “When I’m Gone.” Offstage the New Yorkers are probably one of the funniest groups around. At the airport when the group was preparing to leave for Portland Bill confessed he doesn’t like to fly. Mark, who seems to have an eternal feud with their manager, kept wanting to buy an insurance policy out of a vending machine, but his manager wouldn’t let him. Kent was trying to […] fool with the public address system. All in all, the New Yorkers aren’t the best in the business but they aren’t the worst either. [!]

Bailey’s name turns up on New Yorkers releases through their 1969 Decca single, “I Guess the Lord Must Be in New York City”, and also on The Live Five’s “Take the Good & the Bad”. The Fury Four were never heard from again, at least under that moniker.

Source: An interview with Brett Hudson on RockTalkTV.

Thank you to Mikael for looking up the text of the Free Press article for me, and to Matthew Baker for help with access to the microfilm images.

New Yorkers Scepter PromoP hoto — Photo scan courtesy of Rose Cowan

Categories: Feature, Racine, Rampro, Wisconsin

The Voyagers on Feature Records

December 30, 2018 Chris Bishop 9 Comments

“Voyagers Greet Nixon and Schadeberg”, from left: Jay Sieger, Lance Davenport and Marc Peterson. Photo courtesy of Eddy Hauser.

The Voyagers came from Racine, Wisconsin, cutting two 45s for the Feature Records label out of Janesville.

The band first recorded as a quintet with:

Mark Peterson – vocals
Jay Sieger – lead guitar
Ed Hauser – rhythm guitar
Lance Davenport – bass
Steve Porter – drums

Their first 45 was the excellent “Away” backed with “I’m So Lonely”, both songs written by Sieger and Davenport, from August 1966 on Feature Records 817R-111, an RCA custom press. Spad Music would publish all their original songs.

The band met Richard Nixon at a political rally in October, 1966, and another photo from this event ran in Newsweek on October 10, 1966, with the caption “Nixon stumping Wisconsin: Always a gracious thank you for the band” (tip of the hat to Chas G.).

Voyagers appearing weekly at the Racine YMCA, with special shows by the Delights, Five Emprees, Crying Shames, and Buckinghams. Poster photo courtesy of Eddy Hauser.

By the time of their second single, in 1967, Marc Peterson and Ed Hauser had left, replaced by Joey Carrion (Tino Gonzales) on lead vocals and rhythm guitar. This lineup recorded two more originals, “Can’t Save This Heart” by Sieger / Davenport, and “I Want You Back” by Carrion. It was released as Feature Records F-101, and produced by RAM Prod. After the single, Jay Sieger left and was replaced on lead guitar by Bob Spock.

Voyagers photo, with Ed Hauser on Gibson Firebird (photo courtesy of Eddy Hauser)

Arthur Sullivan sent me Stephen Sperry’s photo and business card, and wrote to me with some information:

This group, The Voyagers was produced by Steve Sperry who operated Ram Productions during the 1960s. This group was probably managed for bookings by Ken Adamany who lived in Janesville during that time. Steve lived in Janesville WI and also managed Dick Campbell of Monroe WI for a while. I don’t know where it was recorded but it has a very good clean sound. There was Leaf Studio in Janesville or Cuca at Sauk City.

Stephen Sperry Ram Productions, Janesville — Stephen Sperry & Ram Productions card, Janesville

Steve Sperry had an early 45 on Cuca J-1008 “That Ain’t So” / “Our Summer Love” before starting Ram Productions artist management and the Rampro label.

Arthur Sullivan had his own release on Swan Records ‎S-4153 as Artie Sullivan with the Rhythm Beats ‎– “It’s Time” / “Suzanne”, and produced singles with vocalist Dick Campbell on Camsul Records out of Worcester, MA (The Wild Ones “Surfin’ Time Again” for example), and CineVista Records out of Monroe, Wisconsin, among many others.

Thank you to Eddy Hauser for some of the photos in this article.

Sources: Gary E. Myers Can You Hear That Beat and On That Wisconsin Beat, and 45 cat

Categories: California, Chalon, Hollywood, Impression, Los Angeles, Unknown

The Grim Reepers “Two Souls” on Chalon

December 28, 2018 Chris Bishop 3 Comments

The Grim Reepers cut the excellent single “Two Souls”, but are still something of a mystery group. I haven’t been able to find any photos or gig listings for the Grim Reapers or Reepers, however they intended to spell the band name.

Two likely members are Greg Magie and Mark Paterson. Greg Magie’s name is in the song writing credits of the album “Stuntrock” by the late ’70s Los Angeles group Sorcery, (sound track to the movie Stunt Rock), and he is also, I believe, the vocalist in Sorcery as Greg McGee.

J. Sturgis is another name on the song writing credits, but in the BMI database, “Two Souls” shows only Mark Patterson, Richard Serrana and Joanne Funk.

“Two Souls” / “Joanne” was released on Chalon 1003 in January of 1967. Besides a few country singles by Roy Stevens, the Grim Reepers is the only other release on Chalon Records that I know of. Produced by Walker – J-P Productions (including B. Walker?).

Chalon Records shared an address of 5539 Sunset Boulevard with Impression Records. Ramhorn Pub. Co. published “Two Souls” and also published many of the songs released on the Impression label. J-P Productions shows up on the Dirty Shames’ Impression single. A. Jones who is credited with arranging the Grim Reepers single is almost certainly Al Jones. Al Jones and Joe Osborn’s names show up on many Impression singles, and on the writing credits to Roy Stevens “Over Again” on Chalon 001.

Greg Magie’s “Joanne” is published through Reklaw Music Co.

Categories: Arkansas, California, Canada, Dionysian, Hot Springs, Los Angeles, Ontario

Beau Hannon on Dionysian

December 21, 2018 Chris Bishop 14 Comments

“Who’s Got the Right of Way” is the snotty, upbeat B-side to the light “Rosie, Rosie”. This Los Angeles production on Dionysian from late 1967 comes roughly in the middle of Beau Hannon’s recording career.

I had read that Beau Hannon was a Canadian singer from Niagara Falls, Ontario, but Mellow’s Log Cabin website says that the group was from Arkansas and started as Beau-Hannon and the Mint Juleps.

They cut a good rockin’ teen single “It’s All Over” / “Brainstorm” on the Hot Springs, Arkansas label United Southern Artists, Inc in 1961. The song writing credits for “It’s All Over” reveals his actual name, Jim Bohannon; “Brainstorm” is credited to Larry Fite who played bass. Other members of the group included Buddy Dodd lead guitar,and Ken Martin on drums.

After touring the east coast, the band did a months-long engagement in Montreal at the Black Orchid club. The band broke up due to the draft and other reasons, but Hannon stayed in Canada & New England and continued his career.

His second single “Stop Me From Falling In Love” on Eskee was picked up for release in Canada, Belgium and Germany. Later he had an LP of lighter pop, Most Requested on Birchmont.

“Who’s Got the Right of Way” was the first of two releases on Dionysian Records, DP-101 / DP-102. Arnold Rosenthal wrote both songs, published by Appolonian (BMI), and Georgie Dee and Rick Centman produced both sides. Δ-69230 in the deadwax indicates a December 1967 pressing. It was almost certainly cut in Los Angeles.

The only other release I know of is Dionysian DP-103 A/B, Richard Williams singing I’m a Free Man” with a similar arrangement of “Who’s Got the Right of Way” on the flip. Notable on this release is Jesse Edwin Davis credited with arrangement, and a co-writing credit on “I’m a Free Man” to Davis and Bramlett (published by Appolonian / Lawana).

A white label promotional copy of Dionysian DP-103 has the artist credited as “Beyond Good And Evil”. On the label photo I’ve seen, this artist name is crossed out and Richard Williams’ name is written at top.

One source notes Richard Williams was Dick Anthony Williams who had a career as an actor, but I can’t confirm this.

Arnold Rosenthal has many song-writing and occasional production credits, but he doesn’t seem to have held a position at any label or company for long. He seems to have been most active from ’69 to ’72, when he wrote much of Gary Lewis’s ‎”I’m On The Right Road Now” album, and played bass on Jesse Ed Davis’s version of “White Line Fever” and on a couple tracks from Ben Sidran’s Feel Your Groove LP.

Categories: Italy

Patrick Samson Set

November 29, 2018 Nick Warburton 4 Comments

Left to right (back row): Roger Warwick and Tony Tyler. Left to right (middle row): Georges El Hayek, Alan Bugby, Patrick Samson, Georges Dersy and Sousso Samson. Left to right (front row): Derek Whitehall and Carl Daykin

Born in Beirut in Lebanon as Sulaimi Khoury, Patrick Samson and his brothers Sandy, who became his manager and MD, and guitarist Soussou Khoury moved to France in 1961.

In the early 1960s, they formed Patrick Samson & Les Pheniciens and recorded a few singles. They then formed The Patrick Samson Group.

In late 1966, the musicians moved to Turin, Italy and subsequently formed The Patrick Samson Set, which included five Englishmen.

One of these was baritone sax player Roger Warwick, who was hired by Sandy Samson after he spotted him working with Freddie Mack & The Mack Sound at the Upper Cut in December 1966. Before that, Warwick had briefly worked with Screaming Lord Sutch & The Savages and The Tornados among others.

The others were tenor sax player Derek Whitehall; organist Tony Tyler; bass player Alan Bugby; and drummer Carl Daykin. Bugby had previously played with Nero & The Gladiators, The Strangers and Johnny Halliday.

This is the formation that is pictured on the cover of the group’s live LP Sono Nero (see above) released in March 1968, which also included Moroccan trumpet player Georges Dersy and a Lebanese guitarist Georges El Hayek known as “Little George”. This formation also recorded some singles, including a fantastic cover of The Spencer Davis Groups’s “I’m a Man”.

Around the time the LP was issued, Carl Daykin left and later played with The Primitives (not before rejoining Patrick Samson later in the year).

He was briefly replaced by Christian Vander who later formed Magma. Another Englishman, Nigel Pegrum, who’d been a very early member of The Small Faces and then worked with Lee Grant & The Capitols joined in Vander’s place.

In March 1968, the group added two more Englishmen, Hammond organist Keith Burberry and tenor sax player Martin Grice, who were playing with The Warren Davis Monday Band (see entry on this site).

Before they came onboard, Roger Warwick left to join The Four Kents where he was subsequently joined by Georges Dersy. Warwick then worked with Ronnie Jones briefly.

Roger Warwick was with The Four Kents on their British 1968 tour

Later that year, Pegrum left to return to England and joined Spice but left before they found fame as Uriah Heap. He subsequently played with Steeleye Span before emigrating to Australia. Original drummer Carl Daykin rejoined.

Tony Tyler later became a noted music journalist, working at New Musical Express.

When Daykin left, Italian drummer Christians Euros took his place, who was joined by fellow Italians, sax player Claudio Pascoli; bass player Guido Guglielminetti; and guitarist Umberto Tozzi.

This is a very brief sketch of the band’s history and I would welcome any additions/corrections. Many thanks to Roger Warwick for filling in some of the gaps

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