The Sundae Times

March 26, 2017 Nick Warburton 2 Comments

Wendell Richardson – guitar/vocals

Calvin “Fuzzy” Samuel – bass

Conrad Isidore – drums

A noted yet relatively obscure late 1960s rock/soul outfit formed by two former members of Joe E Young & The Toniks around late 1967/early 1968, who cut a great lone LP, Us Coloured Kids, and a handful of singles for President Records.

Born in Antigua, guitarist Wendell Richardson had moved to London at the age of 11 and grown up in Tottenham. During 1965, he befriended fellow Antiguan-born musician Calvin “Fuzzy” Samuel and later Dominica-born Conrad Isidore. In 1967, Samuel and Isidore both played with The Toniks fronted by singer Colin Young aka Joe E Young). Through the local West Indian population, the trio got to know Eddy Grant and his band The Equals and became firm friends.

Having lost interest in The Toniks, Samuel jumped ship around November 1967 shortly before the band’s debut single on Toast, “Lifetime of Lovin’” c/w “Flower In My Hand” had been released and started planning The Sundae Times with Richardson, who had worked with The Skatelites backing Edwin Starr in February 1967. Isidore, however, remained with The Toniks but agreed to help out on the pair’s next project, The Sundae Times, who landed a deal with President Records thanks to their connection with The Equals (Ed: Samuel played bass on many of their recordings).

With Eddy Grant producing and penning the trio’s first release, “Baby Don’t Cry” c/w “Aba-Aba”, The Sundae Times’ debut was issued by President on 7 June 1968 but failed to chart in the UK. In the US, the single appeared on the small Seville imprint the following month. German and Spanish releases also followed but somewhat bizarrely it was in Israel where The Sundae Times made the biggest impact. Released as the A-side, “Aba-Aba” broke into the top 10.

With The Sundae Times starting to pick up gigs and with further hits potentially in the pipeline, Conrad Isidore left The Toniks around September 1968 to commit to the project full-time. In retrospect, it was a sensible move as singer Colin Young quit The Toniks soon after to join British hit-makers, The Foundations.

With Isidore fully committed, The Sundae Times began work on an LP for President Records’ subsidiary Joy during the autumn of 1968 with Eddy Grant producing. Richardson dominated the song-writing, penning the tracks, “Angels In The Sky”, “Adam and Eve”, “Electric Tree” and “Jack Boy”, which graced the A-side of The Sundae Times’ second single, issued on President on 22 November 1968. Coupled with “I Don’t Want Nobody”, a Richardson co-write with Isidore and Samuel, the single failed to chart.

The three musicians also collaborated on three other tracks on the LP, “Take Me Back Again”, “Psychedelic Dream” and “Do You Know What Love Is”. Samuel meanwhile penned two tracks, “On The Run” and “Live Today”, which belatedly headed up The Sundae Times’ final single outing (issued on 13 March 1970), and was coupled with Eddy Grant’s “Take Me Higher Baby”.

By then, Samuel and Isidore had been snapped up by Stephen Stills for sessions for his debut solo LP. Samuel was working with PP Arnold at the time and Isidore was working with Alan Marshall’s band One, who’d cut a lone LP for Fontana during 1969. Marshall’s group were regular guests at Stills’ Elstead home in Surrey.

While Samuel subsequently landed a gig with Crosby, Stills, Nash & Young (replacing Greg Reeves), Richardson formed Osibisa and Isidore joined Manfred Mann Chapter 3.

The Sundae Times’ own LP, Us Coloured Kids, had slipped out on Joy Records during 1969 and has since become an extremely rare, yet highly collectable item thanks in part to the Eddy Grant connection.

Selected gigs:

7 September 1968 – Glen Ballroom, Llanelli, south Wales with Lyndia Lewis and The NMO (South Wales Evening Post) Lyndia Lewis was most likely Linda Lewis but was this with White Rabbit?

6 October 1968 – Mistrale Club, Beckenham Junction, Kent (Poster)

2 November 1968 – Weymouth Pavilion Ballroom, Weymouth, Dorset with The Firestones (Dorset Evening Echo)

13 December 1968 – Fishmongers Hall, Wood Green, Middlesex with The Action (Melody Maker)

For more on the band members’ post career, see the Joe E Young & The Toniks entry on Garage Hangover. I’d be interested if anyone can add or correct any information below.

Categories: England, London

Junior Kerr’s 1960s bands

March 26, 2017 Nick Warburton 3 Comments

Junior Kerr (second left) with White Rabbit in early 1968. Photo courtesy of Rod Goodway

Born in Kingston, Jamaica on 3 May 1947, Donald Hanson Marvin Kerr Richards Jr, started to learn the piano at the age of two. When he was nine years old, he moved to London to live with his mother in Stoke Newington. In mid-1965, he starred in The Beatles’ movie, Help! Kerr only appeared briefly, playing one of the policemen who chase Ringo Starr in a beach scene.

Growing up on Kyverdale Road in Stoke Newington, Kerr learnt to play guitar and also further developed his keyboard skills, inspired by Jimmy Smith, Jack McDuff and Booker T, among others.

During late 1964, he formed his first group, The Blue-Ace-Unit, with keyboard player Reo Dayes, a school friend from Tyssen community primary school in Cazenove. With Kerr on lead guitar and vocals, the group also included Ian McLaughlin (rhythm guitar), Errol Pennant (bass) and Alvin Campbell (drums).

The following year, Ken Cumberbatch replaced Dayes on Hammond organ. Kerr also met Calvin Samuel, who he allegedly nicknamed “Fuzzy” because the musician played his bass through a “fuzz box”. Blown away by his bass playing, Kerr invited Samuel to take over from Pennant on bass. The Blue-Ace-Unit auditioned for a gig at the Flamingo in Soho but lost out to The Gass who secured the residency. Around June 1966, the group, which had changed name to The Blue Aces, split up and Kerr began to hang out at Soho clubs, the Roaring ‘20s and later the Bag O’Nails.

Around October 1966 (some sources say as late as March 1967), he joined Herbie Goins & The Night-Timers (where he later met guest singer Linda Lewis) and it was during this early period that Kerr saw Jimi Hendrix playing at the Bag O’Nails in Soho. Inspired by his incendiary guitar work, Kerr started to practise guitar in his free time.

Around September 1967, Kerr left Herbie Goins to form The Junior (Pretty Boy Kerr) Group. The Aldershot News lists the band playing at the “Big C”, a popular club on 1 Camp Road, Farnborough in Hampshire on 4 November. It’s not clear who else was involved in this band and whether it was the same line-up of musicians that became White Rabbit but Linda Lewis was featured as singer.

In July 1967, Polydor Records had issued Linda Lewis’ debut solo single, “You Turned My Bitter Into Sweet” but it had not been a chart success.

Towards the end of the year, Kerr and Lewis put together White Rabbit, which comprised lead guitarist Andy Rickell from Calne, Wiltshire groups, The Pack and J P Sunshine, and his friend (and former Pack member) drummer Terry Stannard, who’d recently been working with Freddie Mack & The Mack Sound. The remaining members were rhythm guitarist/singer Brian Henderson and bass player Ralph Richardson from Lisa Strike & The Jet Set. Henderson had also worked with Nirvana.

Managed by Ian Samwell (Lewis’ manager) and Laurie O’Leary who managed the Speakeasy, the group played a month’s residency in Biarritz, the south of France, at the Canasta Club. Then, in the early months of 1968, White Rabbit toured Italy and France, but after their return (around late March), Kerr decided to leave.

Although he is rumoured to have re-joined Herbie Goins briefly (Ed. he appears on French TV on 4 April; this is more likely to have been a recording from the previous year), he in fact formed a new band that debuted in early April. 1968.

At some point in early 1968, Kerr ran into guitarist Mike Piggott in London, who had just left The System Soul Band, led by singer Ivan Sinclair.

The pair formed a new outfit, Junior’s Conquest, who landed a regular gig at the Pheasantry on the King’s Road in Chelsea.

According to the Redbridge & Ilford Recorder, the band also performed at the El Grotto in Ilford, east London on 7 April 1968, which may have been the group’s debut show.

Junior’s Conquest, late 1968. Courtesy of Mike Piggott. Pete Dobson is far left, Mike Piggott (top) and Junior Kerr. The person on the right might be John Best

It’s possible that while at the Pheasantry the group was invited to perform at a club in Stockholm, Sweden that summer called Alexandra’s, kicking off with a show on 17 May billed as Don Kerr & The Conquests.

Advertised in paper on 31 May. Billed as The Conquest. Thanks to Mats Jarl for the clipping

With drummer Pete Dobson and a bass player, who was replaced by John Best, Junior’s Conquest played together for about six months, including a show at the Victoriana in Liverpool with Sinbad on 11 September 1968.

Returning to London, they played the Speakeasy at Blaises the following night (12 September), according to a club poster.

They also appeared at the Broken Wheel in Retford, Nottinghamshire on 5 October 1968 and the popular West End club, Hatchettes in Piccadilly on 22-23 November 1968.

Sometime in early 1969, however, the band split up. While he was fronting Junior’s Conquest, Kerr had also participated in the London production of Hair on Shaftsbury Avenue, which debuted on 27 September. It was here that he met singer Marsha Hunt whose band he briefly worked with in 1969.

During the early 1970s, Kerr would work with Keef Hartley and then move to the US before subsequently changing his name to Junior Marvin and finding fame with Bob Marley during the late 1970s.

I would be interested to hear from anyone who can add any further details to Kerr’s 1960s career.

Categories: England, London

White Rabbit

March 26, 2017 Nick Warburton 11 Comments

A fascinating, yet short-lived band that included a number of notable musicians who went on to greater things.

The original White Rabbit line-up came together about November 1967 around singers Junior Kerr and Linda Lewis, who’d met earlier that year as members of Herbie Goins & The Night Timers.

Junior Kerr, incidentally, had started out with The Blue-Ace-Unit while Lewis had performed with John Lee Hooker in 1964 and sung with The Q-Set before they backed Maxine Brown and then Ronnie Jones.

White Rabbit was managed jointly by Ian Samwell (Lewis’ manager) and Laurie O’Leary, who managed the Speakeasy club in London.

Linda Lewis in Record Mirror. Thanks to David Else for the cutting

The band’s guitarist Andy Rickell and drummer Terry Stannard had both previously worked together in Calne, Wiltshire band, The Pack during 1966 with future White Rabbit singer Rod Goodway. The trio had also played with another, albeit short-lived, Wiltshire group, Flower of Wisdom between February-June 1967.

When Flower of Wisdom broke up, Terry Stannard moved to London where he joined Freddie Mack & The Mack Sound, which is probably how he ran into Junior Kerr, who’d formed his own band, The Junior ‘Pretty Boy’ Kerr Group around October 1967. In fact, Stannard may well have been a member of this band after working with Freddie Mack (and possibly may have been with Herbie Goins briefly).

Meanwhile, Rickell and Goodway began working with the studio project J P Sunshine, which they kept together after Rickell joined White Rabbit (possibly also after a short stint with Herbie Goins) and Goodway was invited to replace Art Wood in the post-Artwoods band, St Valentine’s Day Massacre between January-April 1968.

The original version of White Rabbit was completed with two additional musicians, rhythm guitarist/singer Brian Henderson, who’d recently been part of Nirvana’s backing band and was previously in The Soul Mates and Liza Strike & The Jet Set, and bass player Ralph Richardson, who’d worked with Henderson in The Jet Set.

According to the Redbridge & Ilford Recorder, White Rabbit played at El Grotto in Ilford, east London on 9-10 December 1967.

After a short Italian tour, which included playing in Turin (see poster above) and billed as Junior Kerr and Linda Lewis and White Rabbit, they performed at the “Big C” club in Farnborough on 24 February 1968.

On 10 March, White Rabbit returned to play at El Grotto in Ilford, east London, according to the Redbridge & Ilford Recorder.

The band also played at the Revolution Club in central London before travelling to France to perform, which included a few weeks in Biarritz (most likely the Canasta Club).

On their return in late March, Terry Stannard departed, later working with Mirrors (with Boz Burrell and Nick Judd), Alan Marshall’s band One and Kokomo among others. Kerr remembers a Jewish drummer called Mick, who briefly filled in.

However, Junior Kerr also departed in late March and formed his own band, Junior’s Conquest who debuted in early April. (Ed. He is seen on French TV playing with Herbie Goins in April 1968 but this must be a recording from 1967.) In later years, he would change his name to Junior Marvin and work alongside Bob Marley.

Brian Henderson, who later worked with J J Jackson, and Ralph Richardson also departed.

On 6 April, the group was advertised playing on the French TV show Bouton Rouge but it’s not clear if this definitely happened. If they did appear, this would have been the broadcast date and would have been recorded in March while they were working in France.

Linda Lewis and Andy Rickell meanwhile pieced together a new version of White Rabbit in late March 1968. Rickell recruited his former Pack and J P Sunshine colleague, singer Rod Goodway, who’d left St Valentine’s Day Massacre, to replace Junior Kerr.

Rod Goodway shortly after joining White Rabbit

The pair also recruited drummer Ron Berg, who interestingly had also played with Freddie Mack & The Mack Sound (alongside Stannard) during mid-late 1967.

To complete the new version, they added Cyprus-born bass player Pete Pavli and organist Mick Aron.

Redbridge & Ilford Recorder has them playing at the El Grotto in Ilford on 4 April. It is possible this may have been just with Linda Lewis singing before Rod Goodway joined.

White Rabbit in St Tropez. Left to right: Ron Berg, Rod Goodway, Linda Lewis and Peter Pavli. Courtesy Rod Goodway

Almost immediately, the new White Rabbit left the UK for the south of France and performed at the Papagayo Club in St Tropez for three weeks, starting in the first week of May.

The musicians were back in London for a notable gig at the Middle Earth club in Covent Garden, opening for Captain Beefheart & His Magic Band on 25 May. The group also opened for The Crazy World of Arthur Brown around August.

Around August/September 1968, however, Rod Goodway and Linda Lewis both left, the latter to embark on a successful solo career after fronting Ferris Wheel where she played alongside future Foreigner drummer Dennis Elliott.

Pete Pavli also left to join High Tide while Mick Aron went on to work with Pete Brown.

Andy Rickell and Ron Berg kept the band going until around November/December of that year, bringing in a number of musicians, including Hammond organist Peter Jennings, who subsequently joined Cressida in September 1969.

Jennings says that he worked with Berg at Sidney Bron’s ‘Bron’s Orchestral Service’ in Oxford Street and then Newman Street, collecting music from publishers in the area and sending them to customers.

The Hammond organist recalls that they also had a singer, who he thinks came from Leicester and a trumpet player from Wales.

He remembers that Laurie O’Leary was still managing the group and that they rehearsed in a gym on Tottenham Court Road. Jennings recalls a gig in Ilford (most likely El Grotto; there is a guest group appearing there on 14 November 1968) one at Sybilla’s in Swallow Street, central London before splitting.

On the band’s demise, Ron Berg joined Mick Abrahams’ post-Jethro Tull group, Blodwyn Pig while Rickell later joined The Crazy World of Arthur Brown.

Jennings worked with several bands before joining Cressida, including one with guitarist Ged Peck called Storm. The others were Van Dyke and Luther Morgan.

This author would be interested to hear from anyone who can add any further information. Huge thanks to Rod Goodway for photos and background information.

The band live in St Tropez. Left to right: Andy Rickell, Pete Pavli and Mick Aron. Photo courtesy of Rod Goodway

Categories: Hazleton, Pennsylvania, Samron, Scranton

Thee Avantis on Samron

March 23, 2017 Chris Bishop 7 Comments

Samron Records had a great run, releasing only a handful of singles but all that I’ve heard are top-notch rock ’n roll. Thee Avantis’ “I Want to Understand” / “Nancy” on Samron S-103, recorded in late 1965, is one of the best.

“I Want to Understand” is the kind of single I never get tired of, featuring a neat guitar hook, solid bass and drum playing, the right amount of organ and great vocals. There are fine guitar and organ breaks, the entire song clocking in at 2:27.

The other three singles on Samron are:

Samron S-101: The Wizards “Don’t Trust A Man” / “Sad Little Girl”
Samron S-102: Ognir & the Night People “I Found a New Love” (Nehring, Marusak) / “All My Heart” (Nehring, Molinaro) released October 1965

Samron S-104: The Five Flys “Livin’ for Love” / “Dance Her By Me”

Samron was run by Ronald Magazzu, and Sam Lesante was also involved. The first two singles listed Magazzu Productions in Hazleton, PA, while the label for the Five Flys changes the town to Coaldale, PA.

I’ve read Thee Avantis were from Scranton, but I found a notice in the Hazleton Standard-Speaker from March 5, 1966 listing the band for a Sunday Dance at the Fiesta Room in Hazleton, about an hour’s drive southwest of Scranton.

I only know the names of three members of Thee Avantis: Nick Fata on bass and Robert Schnessel who wrote both songs, plus Tom Flanagan. Magazzu Music Co. published both songs.

Thank you to Mike K and Mike Markesich for additional info on the label in their comments.

Categories: Dater, Pennsylvania, Williamsport

The Conductors “She Said So” on Dater

March 16, 2017 Chris Bishop 1 Comment

The Conductors photo: Larry Borgess, Chad Fenstemaker, Skip Kreitz, Regan Meyer, Barry Hirsh, and Danny Brungard — The Conductors, from left: Larry Borgess, Chad Fenstemaker, Skip Kreitz, Regan Meyer, Barry Hirsh, and Danny Brungard

The Conductors came from Williamsport, Pennsylvania, cutting the great “She Said So” as the b-side to their June 1966 single. Members were:

Larry Borgess – lead vocals
Chad Fenstemaker – lead guitar
Skip Kreitz – rhythm guitar
Regan Meyer – bass
Barry Hirsh – organ
Danny Brungard – drums

Barry Hirsh and Larry Borgess left to join Prince Charles & the Royaltones. Mike Ranck replaced Larry until the Conductors split.

“She Said So” is a stomping fuzz and organ rocker written by Barry Hirsh, with taunting lines:

You gotta stay home and watch the kids tonight,
Because she said so,
But I wanna tell ya,
Better sit up and say that everything’s not right,
Because you said so.
You gotta break free,
Stand on your own two feet,
Stop doing things that you don’t want to do,
Just because she said so!

The original A-side “Whatever’s In Your Smile” is light pop, but worth a listen, it too was written by Barry Hirsh, and features harmonies, piano and a lighter touch on the guitar.

Publishing was through Hi-Mar Music and Ronbeth Music BMI, both of which had other copyrights, most notably Ronbeth with the 7th Avenue Aviators “You Should ‘O Held On”.

The Conductors single came out on Dater DT-1303/4 in June, 1967. Dater was owned by Dave Chackler, and had one other single that I know of, the Soul Generation “I Can’t See You” / “Big Boss Man” on Dater DT-1301. The A-side has the Starlites doing a drier, stripped-down version of their classic on Bar-Clay, “I Can’t See You”. The label notes produced by Dave Chackler for Peter Warren Enterprises. The Starlites came from Reading, PA, 100 miles southeast of Williamsport, so I wonder how the Conductors connected with Dave Chackler.

Info on the band from Rob’s Williamsport Rock Bands

Categories: Aurora, Illinois, J.R.P., Unknown

Something Obviously Borrowed “Tell the People” / “Joan” on J.R.P.

March 15, 2017 Chris Bishop 4 Comments

Something Obviously Borrowed are another mystery to me. Their only single is a good two-sider, released on the same J.R.P. label as the Shadow Casters.

“Tell the People” is upbeat, with typical lyrics of the time (“Now is the time to tell the people, all about love”). D. Geinosky and L. Carr wrote the song; they were probably members of the band.

“Joan” is laid-back rock, with a feel something like Loaded-era Velvet Underground, the singer intoning “please come on home, Joan”. Writer credit is to the producer, James Ruff, but members of the Shadow Casters noted he put his name on one of their compositions, “Going to the Moon”.

James Ruff Productions probably paid for recording time and pressing of the single on J.R.P. 004, sometime after April 1968. J.R.P. labels list an address in Aurora, Illinois. Sandpiper BMI published both songs but I don’t see a copyright listing for either. The code TM 2665/6 indicates Chess Records’ Ter-Mar studio in Chicago.

Something Obviously Borrowed seems to be the only other release on JRP besides the Shadow Casters, and also seems to be rarer than their singles.

Categories: California, Era Records, Hollywood, Los Angeles, Unknown

Distorters “Distortion”, Marty and the Monks “Mexican Party”, “Psychedelic City”

March 14, 2017 Chris Bishop 5 Comments

One instrumental, three releases, three different titles.

Herman’s Hermits “Mrs. Brown, You’ve Got a Lovely Daughter” topped the Billboard Hot 100 in May of 1965, so a Hollywood studio owner rushed out a parody, “Mrs. Schwartz You’ve Got An Ugly Daughter” with the artist listed as Marty & the Monks, released on Associated Artists AA-3066. This version is on youtube if you want to subject yourself to it.

The much worthier side is the instrumental on flip, cut by a group that seems to have been totally unrelated to the musicians on the A-side. “Mexican Party” is a rocking take-off on “Money” that sounds like it was actually recorded live in the studio. There are whoops, shouts, lots of string bending, a ridiculous horn blast. It has a lot in common with the Pacific Northwest sound like the Moguls “Avalanche”, the Jesters’ “Alki Point” or even Don & the Goodtimes version of “Money”.

Barry Wickham pointed out in his comment below that “Mexican Party” had actually been released the year before as the b-side of “Distortion” / “Distortion Part II”, by the Distorters on Clark Records 364. K. Young, G. Connor, and T. Reed have writer credits, which would remain when the song was retitled “Mexican Party” and “Psychedelic City”. The Kevgreg producer credit suggests Kevin Young and Greg Connor, both of whom were frequent songwriting collaborators, often with Dorsey Burnette.

Johnny Faire (aka Donnie Brooks) must have owned at least part of Faire Music. It had been a going concern since 1959, when it published “Pure Love” by Jesse Hodges and Johnny Burnette, the top side of a Sonny James single in June of that year. After that Faire Music shows up in a couple Cash Box directories and a smattering of releases by Bobby Lee Trammell, Frankie Knight, Curtis Lee, Billy Storm and others.

Jesse Hodges is credited as producer on the Associated Artists release. Hodges owned Hollywood Sound Recorders and I believe he owned the Associated Artists label, which released about twenty 45s, including a couple of Hodges’ own singles. Not having a b-side by Marty & the Monks, he must have simply reused the Distorters recording.

Kevin Young, Greg Connor and T. Reed’s names do not appear on other Associated Artists releases as far as I can tell.

“Mrs. Schwartz You’ve Got An Ugly Daughter” had another release on Era Records 5037. “Mexican Party” aka “Distortion part II” is on the flip, but this time the title is “Psychedelic City”.

Both the Associated Artists 45 and the Era release have ∆-57190 in the deadwax, which dates the stampers for both 45s to June of 1965. I assume the Associated Artists was the original release. I have no idea when this “Golden Era Series” came out but 1967 wouldn’t be a bad guess, given the new, topical title.

My fellow WGXC deejay Jillian found a possible source for the band name in the obscure Marty the Monk cartoons of the 1930s.

Categories: Johnson City, Spot, Tennessee

The Nu-Trons and Spot Records Discography

March 11, 2017 Chris Bishop 15 Comments

I can’t find any specific info on the Nu-Trons. Spot Records came from Johnson City, Tennessee, but recorded groups from locations as far as Knoxville and western Virginia.

“I Told You So” (written by B. Frye) is a moody shuffle with a great r&b feel and fine lead vocal.

“From Now On” (written D. Bradford, G. Shell) has a slower tempo, with more prominent piano and a descending guitar line.

Released on Spot SP7-1123, the RCA custom press matrix S4KM-2012/3 dates this to early 1965.

June 2 show at Funway with a big lineup: Bobby Wood, Dale Ward, Judy Eggers (“Summer Boys” on Metromaster out of Knoxville), Billy Swan, the Malibus (She’s Gone” on Spot), The Loved Ones (“Surprise, Surprise”), Sweet William and the Stereos (“Bring It On Home” on Jed), plus Jami & Jay with the Soul Survivors, the Euterpeans, the Martiniques, the Perfect Strangers, the Escape Device, the Confederation “AND MANY, MANY MORE!”

Spot was in operation for about ten years, from 1959 until about 1968, releasing a couple dozen singles in that span. The Nu-Trons may be the only ‘garage’ style single on the label. The Malibus “She’s Gone” is a good soulful James Brown type original by Boyle, Melton and Fielden. I haven’t been able to find the full names of the band yet, but the group was from Knoxville. They played a WKGN School’s Out Party at Funway with a dozen other groups, included Jami & Jay with the Soul Survivors. The Kingsport News also reported that the Malibus played Rogersville High School: “Jami, Jay, and the Malibus from Knoxville provided music for the dance.”

There’s a lot of sharp r&b on the label from Little Benny and Richie Weems & the Continental Five, and ’50s style vocal rock from the Rock-Alongs and the True Tones. Infinity’s “Ride on the Milky Way” is a western-tinged instrumental. Lonnie Salyer, who helped me with the discography below, has compiled a youtube playlist with 11 songs from the label, a good start for those interested.

The True Tones were Lanny Green, Neil Walker, Gerald Barber, Jay Henderson, Joby Wheat and Richard Way, out of Central High School in Knoxville.

Spot Records discography (compiled with help from Lonnie Salyer)

I’ve included prefixes because at least two numbers, 1123 and 1124, were reused with different prefixes.

SP-101 – Don Bradford – “Someone’s Gotta Go” (Stan Ratliff) / “That Ain’t Much” (Don Shannon), K8OW-0544/5, 1959

SP-103 – Eddie McKinney And Belvederes ‎- “Teen Town Hop” / “I’m Hooked“ (both by Bradford, Campbell, KO8W-0977/8, with picture sleeve)

SP-106 – Little Benny & the Stereos – “Drinking Wine, Spodie Odie” / “Mine All Mine” (M80W-8134/5, prod. Don Bradford, 1961)

1107 – Bobby Joe – “My Life I’ll Spend With You” (B. Tipton) / “Hellbound” (N80W-8467/8)

SP1108 – Reece Shipley – “I Counted The Raindrops” / “Too Big To Cry” (R. Shipley, Ronald Talley) (ZTSB 83092
SP-1109 – Paul Sutton – “Lucy” / ? (P4KM-3604)
SP-1110 – The Rock-A-Longs – “Don’t ‘cha Know I Love You” / “Theme from the Beachcomber”
SP 7-1111 – Wayne Boling – “Please Cry” / “What Kind of Friend Was He” (with picture sleeve, SO 1467/8)
SP 7-1112 – Wayne Boling – “She’s Coming Home” / “Little Hit and Run Darling” (SO 1611)
SP 7-1113 – Eugenia Anderson – “Soul of a Child” / “Send Down the Fire”

SP 7-1115 – The True Tones – “Lovin’ From My Baby” (Joby Wheat) / “Never Had a Chance” (J. Wheat, L. Green, R4KM-8431/2
SP 7-1116 – Jackie Bair & the Cubs, featuring Skip Lane – “Bare Hug” (Lane, Bair, Miller, Parker) / “You’re In Love” (Prod. by Don Bradford, RK4M-7113)
SP 7-1117 – Richie Weems & the Continental Five – “That 8:30 Special” / “Making Believe” (RK4M-7262/3)
SP-7-1118 – The True Tones – “Please Be True” (J. Henderson) / “Kiss Me Now” (J. Wheat), RK4M-7260, prod. by Don Bradford

SP7-1121 – The Tru Tones – “Little Hit and Run Darling” (Don Schroeder, Wayne P. Walker) / “La La La La La” (Clarence Paul), S4KM-1633/4

SP-1122 – Richie Weems & the Continental Five – “Tricks of the Trade” / “Natural Born Man” (S4KM-1706/7)
SP-1123 – Richie Weems & the Continental Five – “Wild In the Night” (B. Bradford) / “Mine All Mine”
SP-1124 – Little Ceaser & the Euterpeans – “It Ain’t What You Do It’s The Way How You Do It” / “Good Good Lovin’”

SP7-1123 – The Nu-Trons – “From Now On” (D. Bradford, G. Shell) / “I Told You So” (B. Frye), S4KM-2012/3
SP7-1124 – Lon Nave – “I’ll Think of You” / “Just Lookin’ Around” (Lon Nave, Harold Nave), TK4M-4056/7, 1966

SP-7-1128 – Kenny Springs & the Scat Cats – “Nobody Else But You” (K. Springs) / “Let Nobody Love You”, prod. by Don Bradford, TK4M-4722
SP7-1129 – Glenn Shell with Jackie Bair & the Cubs – “It’s Too Late” (G. Shell) / “Ain’t No One Woman Man” (U4KM-2575)
SP7-1130 – The Malibus – “She’s Gone” (J. Boyle, E. Fielden, J. Melton for East Tenn. Music) / “Oop Poo Pa Do” (U4KM-4837, 1967)

SP-7-1132 – The Kool Kuzzins – “Love Can Be True” (D. Rose, B. Rose, M. Powell) / “Hey Little Girl” (1968)
SP-7-1133 – The Infinity – “Ride on the Milky Way” / “Moon Gazer” (both by Charles Stafford & Gene Wheelon) W4KM-6546/7, 1968
SP 7-1134 – Little Caesar & the Euterpians – “Love Is A Beautiful Thing” / “I Can’t Stand It Together” (W4KM-)

Most originals on the label published by East Tenn. Music Pub, BMI.

The Kool Kuzzins came from Castlewood and Oakwood, Virginia and featured Danny Rose on lead vocals and drums, his brother Bill Rose on guitar and Mike Powell on bass & organ. The Kuzzins lived in the Tidewater during the summer of 1967, recording some unreleased sides for Frank Guida. After the band made their single at Spot, Danny Rose left to join Sound on Sound, based in nearby Grundy, VA, as lead vocalist. (Info from the CD Aliens, Psychos & Wild Things Vol. 2 on Arcania International.)

This was not the same label that released the Shytones or the Los Angeles label with the Poets and Effie Smith.

Thank you to Simon S. for finding clips of the Malibus 45.

Categories: La Louisianne, Lafayette, Louisiana

The Surrealistic Pillar “I Like Girls”

March 7, 2017 Chris Bishop 6 Comments

The Surrealistic Pillar came from Lafayette, Louisiana and cut the classic “I Like Girls” circa 1967 or 1968. The names on the label, Eddie Smith and Ed Futch, were not members of the band, but Ed Futch is likely singing lead vocals on “I Like Girls” – he has become well known by his stage name, Eddy Raven.

The lyrics, what I can make out of them, are from a different era:

Sitting in a car, the tape machine is blaring,
Watching all the girls, and digging the clothes they’re wearing.
When I see a mini-skirt, it drives me crazy,
Cause all the time I’m watching, I’m thinking … maybe,
I would find a girl that would say “surely”.
You could laugh at me, but never call me stupid…

[I wish I could make out the words of the third verse.]

Ed Futch, Eddie Smith wrote “I Like Girls” and Eddie Smith wrote the unusual instrumental, “Mexican Calliope” (rated a “2” in Teen Beat Mayhem!). La Lou Music BMI published both songs.

Though issued on Tamm Custom Series T-2027, this is a production of La Louisianne Records, which issued plenty of great singles, including Eddy Raven’s “Misery” and (for garage fans) the Rogues incredible “I Don’t Need You”.

A defunct website Turn Me On Dead Man had some info from one of the members of the band dating back to about 2003, but that person’s name is left off and only first names are given for the rest.

Well, the band started in 1965-+. We all went to school together or close to each other and somehow started playing together and then started a band. We used the name Kings Council at first, then took the name from a Jefferson Airplane album.
The band had six members with a light man and helper. I played bass. Ernie played drums, Benny played lead, Bubba played guitar, Rayburn sang, Glynn played lights and Clyde played tam, lights, and helped out.
We had Kustom equipment and a Hammond organ, so we could play stuff by Vanilla Fudge, Steppenwolf and other great bands.
I saw Eddie Futch[’s] (Eddie Raven) name listed, he is related to Benny. Eddie Smith is the one who got with us and taught us the song “I Like Girls.” He paid for the recording session and we sold about 200 copies. There is a couple still floating around. We used to play places like the Swing Machine, a college hangout. All I knew is we just had to play loud.
I just retired from the Lafayette Police Force after 29 years. In 1969 I went into the USMC and did my tour in VN [Vietnam]. Some members of the band went on to play in Sage. Benny is playing guitar in church. I have several guitars and play with Benny when we get together. The rest of the guys live around here [Lafayette, Louisiana] but me and Benny are the only ones who still play.

Categories: Clifton Forge, Rainbow, Virginia

Rupe & the Jades

March 4, 2017 Chris Bishop 3 Comments

Rupe & the Jades came from Clifton Forge, Virginia, a town in Alleghany County. Rupe was Rupert Howard, who I believe was a number of years older than the teenagers usually making this kind of music.

Released on Rainbow 45-100, I originally thought this was a late ’60s pressing, but Max Waller pointed out it’s likely a King custom pressing from 1965.

“Listen to Me” is a good original song with a fine guitar solo. The writers were C. Burnett, L. King, R. Howard and D. Davis, all band members I assume.

Corky Burnett’s original “A Time For Us” is a ballad with a whistling intro, and includes laments against war and poverty.

Rupert Howard later played mandolin and sang for the Mountain Magic Band, whose 1978 album Blue Ridge Mountain Magic proficiently combines country, bluegrass and rock.

The site for '60s garage bands since 2004