Afton Records Discography

March 2, 2013 Chris Bishop 3 Comments

Afton Records started with three releases in 1959:

Afton 616 – Frank Pizani -“Wanna Dance” / “It’s No Fun”, Pino Music Co., distributed by United Telefilm Records
Afton 616 – Frank Pizani -“The Stars Will Remember” (Pino Music Co.) / “Steady Cha Cha”
Afton 618 – Ted Ostling – “Shivers & Shakes” / “Girls Choice” (Keith Music pub)

I can find a listing of Afton Records as a corporation in the 1963 Illinois Certified List, with an address of 105 S. La Salle St, along with “Ohio M.S. Distribution Company” at the same address, both owned by Milton Salstone of 1700 S. Michigan Ave. In a comment below, Joel Mills points out a notice of M.S. Distributing handling Frank Pizani’s second Afton single.

Seven years later, in 1966, the label returned with a 1700 series. Publishing is usually by Vic Mil Pub or Vic Mil Music. Presumably the Mil refers to Milt Salstone, and the Vic must be Vic Faraci, who produced the Five Bucks and the Gnomes. I haven’t seen any incorporation paperwork for Vic-Mil Publishing – if anyone can dig that up I would appreciate it.

Afton V-1700 – The Strangers – “This Brave New World” (Bob Rubin) / “In the Beginning”, A-side is a top surf instrumental, flip is blander

Afton 1701 – Five Bucks – “No Use in Trying” / “Now You’re Gone” (April 1966), first press omits label # and lists b-side as “Now You’re Mine”, produced by Vic Faraci

Afton 1702 – Gnomes – “The Sky Is Falling” / “Something’s Going Wrong” (both by Carpenter, Sullivan, Vic Mil pub.), great ballad backed by first-rate garage. Produced by Vic Faraci. Anyone know this group?

Afton 1703 – Sound Carnival – “I Wish I Could Tell You” / “Dreams” (both songs by Stock, Siegel, VicMil Music BMI, September, 1967)
band from Morton Grove, Illinois

Afton 1704 – Donnie Sanders & the Don Juans with Scherri St. James – “Make a Happy Home” (D. Sanders, Vicmil Music BMI / “Shing-a-Ling Baby”

I’m not sure if V-1700 is actually this Afton Records, as the credits have nothing in common with the others, but the 1700 numbering suggests it possibly is.

There are other Afton labels not connected to this one.

For more on the Five Bucks see my article on this site.

I could use good scans of the Donnie Sanders 45.

any help with this discography would be appreciated.

Categories: J-Three, Kentucky, Mayfield

The Sound Extraction – Interview with Terry Jones

January 26, 2013 Chris Bishop 33 Comments

The Sound Extraction (from left): Terry Jones, Tommy Stayton, Randy Edwards, Lanny Hays, Donald Housman, Dee Presson and Lana Edwards. Photo courtesy of Terry Jones

The Sound Extraction had one great 45 “I Feel Like Crying” / “Tina” on J-Three Records. The band was from the town of Mayfield, Kentucky in the southwestern corner of the state, not far from the borders of Tennessee and Missouri. Mario Aguayo interviewed Terry Jones and they both are allowing me to publish it on Garage Hangover:

How did you first get interested in music?

My mother passed away when I was only 8 years old. She was a guitarist, songwriter, and singer. Lanny’s dad was also a singer and guitarist and my dad was a singer. After our mom passed away, my aunt, her sister and 2 children moved in with us to help dad to take care of us, as she was divorced. Well, you guessed it, my dad ended up marrying his sister-in-law; so we became a large family of 2 boys and 5 girls.

My aunt who became my step mother was also a singer and guitarist. She taught all of us to play instruments and we formed a family band called, “Lanny and the Skylighters.” We played as the family band for several years at sock hops, grand openings, talent contests, festivals, and such. We were even on our town’s radio station for a while.

Lanny And The Skylighters photo — Lanny and the Skylighters

How did The Sound Extraction form?

We had entered a contest against the Sound Extraction and came in 2nd place to them. That’s how we met them.

At the time the record was made, my stepsister, Lana and I sang with the band, but later, I replaced the keyboard player, and Lana replaced the drummer. From left to right in the picture are me, Terry Jones – singer, guitarist, and keyboard player, Tommy Taylor – keyboard, but not for long, Randy Edwards – my stepbrother, played the bass and sang, Lanny Hays – my half brother, played rhythm guitar and sang, Donald Housman – drummer, but not for long, Danny Presson – lead singer and lead guitarist, and Lana – played guitar, drums, and sang. As you can see that very soon after joining the band, we were all family except for Danny, or Dee, as he liked to be called.

Lana and Dee fell in love and got engaged. That’s how the band formed.

Where did The Sound Extraction typically play?

As the Sound Extraction, we played mostly in bars and clubs. We had regular gigs at The Eagle and Moose Clubs, and then played at bars all over the 4 state area, including Missouri, Tennessee, Kentucky, and Illinois. We also played at picnics, family reunions, proms, festivals, etc.

Did The Sound Extraction have a manager?

Dee was the only manager we had. We enjoyed playing very much and had regular followers that would go everywhere with us and keep the people dancing and clapping! We had a blast! I was only 14 when we first started playing in the bars, but no one ever asked me my age, as I wore lots of makeup and looked older than I was. Our parents were always there, too, keeping watch on us and enjoying every minute of it. We played old rock and roll, country, and some bluegrass.

How did the band end up recording their 45 “I Feel Like Crying / Tina”?

The band recorded the 45 after we won a contest. The prize was the recording. Bill Scarbrough was the one who recorded it. He was one of the DJ’s at WNGO in Mayfield, KY where we lived.

I believe we only won 1000, but had more made. Not too many more though, so the actual records are very rare. I believe that Lanny, Dee, and I are the only ones that have one of the original records left. I have never known anyone else to tell me they have one. The 45 was recorded and released in 1968.

Danny Presson is known for his ‘cupped-hand’ harp action. What were the reasons for him doing that?

Dee was doing the hand harmonica music when we met him, so it is very hard to say how he actually learned to do that. He cupped his hands and did it with no instrument. You only heard a small portion of what he could do! He amazed people everywhere he played with that. When he opened his hand and there was nothing there, people could not believe it. He did it on a few other songs and did a great job at it.

What were your concerts / gigs typically like?

I loved the gigs and, of course, all the attention. I had always been a shy girl, but when I got on stage, I could just let it all go and I gave it all I had…. It was my identity, it was who I was. I loved wearing all the neat outfits and makeup and entertaining people. I still do to this day!

Did the group have any other recordings?

We never made any other recordings.

What year and why did the band break up?

The band broke up in 1969, because Dee and Lana broke up.

What are your fondest memories with the group?

I have so many fond memories… it’s so hard to tell you about all of them. Practices were great! We turned the music up so loud and were thrilled to learn almost every new song that came out.

Life after The Sound Extraction?

I sang in a group called Jaroboga back in the 70’s … mostly singing in bars. I would sit in with Wolfman and the Pack at a little bar in Fulton, KY sometimes. As the years went by, I gave my heart to the Lord and now sing a new song. I have lead the singing in various churches, sang with gospel groups, and done some specials at singings and homecomings. I recently started to a new church and haven’t done anything since I have been there. I do sing on the Praise and Worship team where I work. I am blessed to have a job at a Christian college where our staff meetings are more like church!

Interview conducted by: Mario Aguayo

The original Sound Extraction, from left: Tommy Taylor, Ronnie Cox, Terry Bass, Danny Presson and Tommy Stayton

Update, June 2013:

Since posting this I heard from Tom Taylor, who sent me this early photo of the group and wrote to me:

First of all, I am not in the photo [at top of article].
In the begining we were a five-piece band and one day in our home town Archie Campbell of Hee Haw fame came to judge a talent contest with the first prize being a recording contract. We won playing the songs “I Feel Like Cryin'” and flip side “Tina”. I have attached a photo from the newspaper clipping when we won the contest. That’s me on bass, Ronnie Cox on rhythm guitar, Terry Bass on drums, Danny Presson on lead vocals and 12 string and Tommy Stayton on keys.
In the contest we competed against the sisters shown in the [top] photo and our lead singer fell in love and before long they were singing backup for us.
When the actual studio work was done, Tommy Stayton the keys player couldn’t be there so Ronny Cox’s little brother played the keyboard for the recording session. And of course the sisters sang back up. By this time I had gone and most all of the original members were too, but I did play the bass guitar during the studio session. I think we sold about 100 copies before I went to the Army. I never gave it a second thought until about three months ago when a friend said I read about you and the Sound Extraction.
As for the photo you show [at top of article], it must have been taken much later when the band had broken up. The boy playing drums in your photo is now a really good friend of mine named Donald Housman. I do not know the other people pictured.
I have 2 copies of the original 45 record. Just listened to it and not bad after all these years. Right now I’m back in the business with my own recording studio and I also do live sound for our 6 piece country/rock band. I would like to hear from any one in the photo or original group.
Tommy Taylor

Categories: New York, New York City, San Antonio, Satin, Texas

The various Satin Records labels

January 25, 2013 Chris Bishop 10 Comments

There are two garage 45s in these lists, Shep & The Downbeats “Girl, Girl” / “You’re Never There” on the Roulette-distributed Satin label from NY, and Gary & Kyle “Stay With Me” / Smaller Than You” from San Antonio.

Any help with completing these discographies would be appreciated.

I could also use good quality scans of the San Antonio label 45s, and of the Adophus Bell

Annabelle Fox Satin 45 Getting Through to Me Roulette — 1st pressing distributed by Roulette

New York:

All labels read “Exclusively distributed by Roulette Records” except for a green label with plain black text version of S-400, Annabelle Fox’s “Getting Through to Me”, which Mike Markesich states is a West Coast pressing and not the first issue.

The first three releases come in promo white label and two-tone green labels. 402 and 403 only seem to exist with promo white labels.

Satin S-400 – Annabelle Fox – “Too Good to Be Forgotten (Bell 40,004) / “Getting Through to Me” (mastered at Bell Sound 40,002)
Satin S-401 – Al Hibbler – “Good for a Lifetime” / “Once Before” (Bell Sound 40,005)
Satin S-402 – Annabelle Fox “Lonely Girl” / “Humor Me” (Bell Sound 40,003)
Satin S-403 – Shep & The Downbeats – “Girl, Girl” / “You’re Never There” (both by Ted Kobran) (produced by Rama Wilson Associates, Bell Sound 40,009/10)

All except Shep & the Downbeats produced by Teddy Rendazzo, and published through South Mountain Music, BMI.

Most of the Rendazzo produced 45s have song writing credits to some combination of Rendazzo, Bobby Weinstein, R. Allison and L. Stallman.

Kurt L. sent me the scan of Shep and the Downbeats. Kurt remembers hearing that the band won the WABC Battle of the Bands, with a recording contract with Satin being the prize. The group played at Martin Van Buren High School in Queens Village, and likely were students at that school. The only name I can find in connection with the group is Ted Kobran.

Teen Beat Mayhem says the band was from Union City, New Jersey and gives a release date of August, 1966. Although “You’re Never There” rates higher than the flip in TBM, I think “Girl, Girl” is the better song.

Shep & the Downbeats has a “Rama Wilson Associates” production credit. This should read Ramal-Wilson, as in Bill Ramal and Marty Wilson. They had previously produced singles for Diamond.

A notice from Billboard’s October 22, 1966 issue states”new artists added to Ramal-Wilson Associates are Shep and the Downbeats, the Upper Crust, Gary Criss, Bruce Bruno and Carole Colby.”

Another Billboard notice from May 21, 1966 mentions Ramal-Wilson Associates producing the Ramblers on Red Bird and the Perfect Strangers on Capitol. “All sides were arranged by Joe Scott, staff arranger for Ramal-Wilson.” However, I’m not aware of any releases by these other artists.

New York
(probably no connection to the later Satin label, above):

Satin 921 – Rhythm Rockers featuring Johnny Serrano – “Oh Boy!” / “We Belong Together” (Norvojak Music BMI) (October 1960)

New Orleans:

Satin 2-100 – Tammy McKnight – “What’s Her Name” (E. Darder – Allen Orange) / ? (SoN 1591, Chavis Music BMI, A Hi-Liter Production)
Satin 2-101 – Al White & The Hi-Liters – “Johnny B Goode” / “Let That Guitar Roll”
Satin 2-102 – Alex Spearman – “Mama-ka-toko-laka-poo-poo-yay” (L. Bonds) / “On Our Wedding Day” (Emelda Music BMI, SoN1561))

San Antonio, Texas:

Owned by Emil Henke, who also owned Warrior and part of Harlem. Mr. Henke passed away on February 22, 2002.

pink label with ribbon “S” in Satin. 411 S.W. Military Dr., San Antonio and “Emil J. Henke Production”:

Satin SA-100 – Doug Sahm – “Crazy Daisy” (Sahm, Warner) / “Can’t Believe You Wanna Leave” (1959)

Satin SA-001 – The Satin Kings – “Let’s Go, Let’s Go” (Ballard)/ “Matilda”
Satin SA-002 – Charlene – “Rock Bottom”/ “Let’s Try Once Again”
Satin SA-003 – The Mavericks, vocal: Moe Bandy – “Lonely Girl” / “Too Many Times Before”
Satin SA-004 – The Trochais – “Give Me An Answer” / “Phantom” (both by Francis Akeroyd, 1966, B-side is a surf instr)
Satin SA-005 – The Mavericks, vocal: Moe Bandy – “What Would You Do” / “As Long As There’s A Chance”
Satin SA-006 – Satin Kings – “Mil Veces” / “Echale un cinco al piano”
Satin SA-007 – Gary & Kyle – “Stay With Me” / “Smaller Than You” (both by Gary Young, Satin Music Pub SESAC, June ’66, duo from Poteet, TX)
Satin SA-008 – Bailey Anderson – “Folsom Prison Blues” / “They’ll Never Take Her Love From Me” (6-66 1)
Satin SA-009 – Moe Bandy & the Mavericks – “You’re Part of Me” / “Hey There My Friend”
Satin SA-010 – Paul & Chuck – “House Of Blue Lovers ” / ?
Satin SA-011 – Playboys – “Dame Licencia” (Hazme El Milagro) / “Nomas Por Quererte” (7-66-2)
Satin SA-012 – ?
Satin SA-013 – Playboys – “All I Do Is Cry” / “Little Playgirl” (Robert Suarez) 8-66 PB-3/4

pink label with a script “Satin” and no ribbon:

Satin SA-014 – Bailey Anderson & the Satin Gentlemen – “What Will The Answer Be” (Dayton Smith) / “The Satin Gentlemen” (1066 BA 4)
Satin SA-015 – Playboys – “Falling In Love With You” / “Let Them Talk” (Joe Seneca) (LH-2836/7, December 1966)
Satin SA-016 – Conjunto Los Navegantes – “Te Fuiste” (Rosendo Torres) / “Navegando” (Adolf Garcia) (167-CLN-1/2, LH-2876/7 “Spanish Series” Satin Music Pub)

stylized Satin logo on left with two lines above and below:

Satin SA-021 – The Ones – “Sure Gonna Miss You” (often marked up to read “Sure Gonna Miss Me”) / “What’s It Like To Be In Love” (LH-3299, 1967)

Satin SA-024 – Jimmy Payne, The Country Boys – “Standing at the End of My World” / “A Wound Time Can’t Erase”

two-tone label with Satin Records in box (except for SA-028 which reverts to the original ribbon S):

Satin SA-025 – The Lively Set – “Soul Diggin'” / “Blues Get Off My Shoulder” (vocal by Earl Adams)

Satin SA-027 – Jim Faber – “Just for a Moment” / ? (country)
Satin SA-028 – The Casino Royal – “Don’t Mistake Me for a Fool” (D. Cruz, T. Zamudio) / “Return Of The Prodigal Son”

Satin SA-030 – The Three Dudes – “Sad Little Boy” / “I’m Beggin’ You” (Jan 1968, group aka Four Dudes, Images)
Satin SA-031 – Michael Lord – “(Life’s a Ball) Lovin’ It All” (H.M. Byron) / “Its Only Make Believe” (Twitty)

Satin SA-033 – Nat y Los Music Makers – “Una Eternidad” / “Por Ultima Vez”

Satin SA-035 – Bailey Anderson – “The World’s Youngest Naughty Old Man” / “There Goes My Everything” (1969)

Satin SA-037 – The Satin Souls (vocal by Madison Mitchell) – “Gimme Some Lovin'” / “I’d Rather Go Blind”

Satin SA-041 – Michael Lord & the Romainaires – “St.James Infirmary” / “Take Five” (1969)

Satin SA-047 – Clique Camarilla – “The Ride” (Donny Leavitt) / “The Hello Song” (Prod. by M. Montgomery for Sabra Prod., Riviera Music BMI, 4-69-1)

Satin SA-061 – Ty Lemley – “Ramblin’ Ways” / “One Day at a Time” (country 45)

Satin SA-102 – J.D. Williamson – “You’re Something Else for Me” (Fender, Duncan) / “I’m Getting Better” (Luella Lewis, Arthur Vosgein) 1979

The Casino Royal is the same group as the Casino Royale on Key-Loc.

Pennsylvania (?):

Satin SAT-1111 – Adolphus Bell & the Up Starts – “Black Eye Peas” (C.A. Bott, W. Hutchingson, Joy Boy BMI) / “Lafin Gas” (C.W. Powell, D. Bell, S. Godfrey, Cevet BMI) (1031-45-SAT1111)

Blues Art Journal has an article on Adolphus Bell but the author seems unaware of this recording.

Plainview, Texas:

Satin RHB-1120 – Harry Bray & the Wheels – “I Lost My Love” b/w “Way Down South in San Antonio” (SoN 84892) country with drum machine!

Ogdensburg, NY:

Satin SR-561 – The Four Satins – “Drop Off” (Larry Costigan) / “Hip Hop”, possibly Jimmy Massia lead vocals (see this post on Utica entertainment for a little more info)

There was also a Satin label out of Washington state in the 1970s that had a 45 by the Main Attraction.

Thank you to Max Waller, Kent Chatellier, Michael Recendez, and Martin Hancock for their additions to this discography, and to Max for the Gary and Kyle scans.

Categories: Pic 1, Sherman, Texas

The Passions

January 23, 2013 Chris Bishop 8 Comments

The Passions came from Sherman, Texas, a town northeast of Dallas that had several bands including the Jack Rafters, the Five Coachmen and the Marquees.

Unlike those other bands, the Passions made a record, cutting the excellent “Lively One” / “You’ve Got Me Hurtin'” for Huey Meaux’s Pic 1 label, released in June 1965.

One person I spoke to referred to the band as Bill Galleon & the Passions. I thought Donald R. Mask may have been a member, as he wrote “You’ve Got Me Hurtin'” (his name is listed simply as Don Mask on the demo).

However, Alec Palao tells me the members were Gordon Eatherly, Bill Galyon, Larry Jannash, Roger Burkitt, Bill Shearin and Jerry Mullins, and that Eatherly was likely the leader of the band.

Besides the two songs on the single, the band recorded two cover songs that Big Beat will include on a compilation of bands on Meaux’s labels to be released Spring, 2013.

Does anyone have a photo of the group?

Mark Taylor supplied the scans seen here. Of the Sellers demo cut, he says “‘Lively One’ has an extra 40 seconds of harp wailing with an extra chorus, and ‘You Got Me Hurtin” has about 20 seconds extra of ‘yeah yeah yeah'” compared to the Pic 1 versions.

Categories: Sherman, Texas

The Jack Rafters

January 16, 2013 Chris Bishop Leave a comment

Guitarist Gary Dennis sent in the photo of the Jack Rafters above. Like the Five Coachmen and the Marquees, the Jack Rafters were from Sherman, Texas, and like those bands, the Rafters never released a 45. The only band from Sherman to release a record was the Passions, who have the great “Lively One” / “You’ve Got Me Hurtin'” on Pic 1, who I’ll cover soon.

This picture was taken at the Bells, Texas high school Sr. Prom in the Municipal Building, Sherman, Texas May 1965. The Jack Rafters are right-to-left: Mike Hallett, Bobby Kincaid, Jerry Tucker, Gary Dennis.
Bill Galleon and the Passions were playing gigs and we decided that we could too. The Rafters were a hardcore party band. We rented local venues, advertised by word of mouth and sold cokes. Our parties mostly ended in drunken events that were parents worst nightmares. Years later our ex-sheriff told me that he loved our parties because he could just park outside and keep tabs on all the trouble makers. After seeing our success, several other bands came along that you mention on your website. We made money and had a great time. Our music was pretty bad, but nobody cared.
One of our friends, Ben Mandeville, had some state-of-the-art recording equipment and he recorded all our performances. Sadly this was before digital tech and I doubt that anything survived.
Gary Dennis

Categories: Press

Garage Hangover profiled in Tribe Magazine

October 19, 2012 Chris Bishop 2 Comments

After years of conducting interviews, the tables have turned. UK digital arts magazine Tribe has a feature on Garage Hangover.

Check it out at www.tribemagazine.org/garage.html (now defunct)

Categories: Davenport, Iowa, Rok, US

The Contents Are

October 16, 2012 Chris Bishop 5 Comments

Dave Neumann – lead guitar and vocals
Craig Hute – 2nd lead guitar and vocals
Larry Smith – bass and vocals, replaced by Mick Orton – bass, keyboards, vocals
Paul Staack – drums and vocals

The Contents Are came from the Quad Cities area by Davenport, Iowa. High school students Dave Neumann and Craig Hute were in the Blazers when they decided to form a new group to pursue a more original and harmonic direction. Adding Larry Smith and Paul Staack, they started playing live shows in the area, including Cedar Rapids, IA and Rock Island, Illinois.

In April of 1967 they entered the Fredlo studio in Davenport and recorded “I Don’t Know” and “Direction of Mind”. Craig Hute wrote both songs, with arrangements by Dave Neumann. The 45 did well locally, selling as many as 1,000 copies, though it’s pretty scarce nowadays. It’s one of my favorite 45s, I don’t think there’s anything else quite like this band in the ’60s. They have a calm, melancholy sound and their lyrics really stay with me.Once the band was out of high school and mostly attending college, they played shows as far away as Champaign, Illinois and Minneapolis.

Later in 1967 or early ’68 they returned to Fredlo to cut an album of originals by Craig Hute. These are just as good as the single, my favorite being “If You’re Relaxing”. Marianne Dean played piano, oboe and sang on the album.

The band pressed 100 copies and gave them away, and it is now incredibly rare. This record was mostly a rumor until a demo copy surfaced in 2005. Shadoks reissued the album, adding a little color to the line drawing that was the front cover. The original back cover was bland, but the Shadoks release has a photo of the band and and info on who sang or played on each song. There’s also an insert with entertaining notes by Craig, but he doesn’t mention many details of the recording sessions. He does say Mercury bought the Rok 45 for national release which never came about.

The Contents Are had one last single release, “Future Days” / “New Mexico” on Rok Records 6907, which has the same harmony qualities even though the guitars are heavier.

The Contents Are, later promotional photo

The group stayed together for four years then split amicably as members went in various directions. Larry Smith and the band’s road manager Christy Peake moved to Portland, Oregon to work on acoustic guitars. Mike Orton (Mick) of the Todd Beat Group replaced Larry Smith, and in the early ’70s the band moved to the Denver and Boulder Colorado area where they changed the band’s name to Tabernash.

Their second bassist Mick Orton sent in the later promotional photos seen here and wrote to me about the group:

The CD liner notes made it sound like the band broke up after Larry left which was not the case at all. But I didn’t play on that album, so I kind of understand leaving me off.
When I joined The Contents Are: we were basically a cover band doing a few original tunes that Craig wrote. We only did a few of the songs they had previously recorded; “Country Roads”, “No Chance to Choose” (which I have live on the tapes I am transferring), “Recurring Changes” (also on the live tape, I think), “I Don’t Know” (one of my favorites), and “New Mexico”. There may have been others, but they don’t come to mind. Anyway, I think Craig wanted to leave the old music behind and focus on the new stuff.
Then we started doing some of mine (“All Around”, “Old Man”, “Grey, Cloudy Skies” and a few others), and finally some of Dave’s.
We put together a bunch of original tunes which we recorded in Appleton, Wisconsin and later we recorded others at Columbia Studios in Chicago. It was amazing what a difference that made in the quality. By then, Dave Neumann was writing, and the A&R man at Columbia really liked all of Dave’s songs. Somewhere there are tapes of us doing Neumann originals like “JTK” and others. “JTK” was about James T. Kirk, as Dave was an avid Star Trek fan.
Tabernash:
By the time we moved to Colorado, we were trying to emulate Crosby, Stills, Nash and Young, The Allman Brothers and Steely Dan. All of the band but me wanted to do “non-commercial” stuff. My feeling was, if it’s non-commercial, who is going to buy it?
When we moved to Westminster, Colorado, our first house, we all lived under one roof: Craig, Marianne, their young son Aaron, Dave, Paul and me. Eventually the girlfriends from Davenport came out; Teresa for Dave and Pam for me. Paul met Dave’s cousin, Donna. Everyone split up to have their own households.
We didn’t play much, so I had to get a job working in factories. Lange Skis was hiring, so I ended up running a bunch of riveting machines and met our eventual road guy, John Zimmer (now deceased). He introduced us to his friend, Clay who also helped out. There also was Colin who did our sound.
We were playing very little when Jon Ludtke called me to join Silver Laughter. I guess my leaving broke up Tabernash. We never recorded any music, I am sorry to say.
“Grey, Cloudy Skies” we revised and recorded on Silver Laughter’s “Handle With Care” album.

Paul Staack would also join Silver Laughter after their first drummer departed. Craig Hute continued writing music and recording on two-track and, more recently, digitally.

The Contents Are have little presence on the internet, other than some reviews of their album and the titles of their songs. The album has one photo of the band, are there others out there?

Information on Silver Laughter from Mick Orton’s website. On that site you can also hear a couple of the demos the band recorded in Chicago, including Craig Hute’s excellent, rocking “Head Collect”, and a live version of Mick’s “All Around”.

Update 2017: info on an obscure 45 single by Tabernash is now at this post on the site.

Categories: Emanon, Provo, Utah

The Todes

September 16, 2012 Chris Bishop 12 Comments

Todes Emanon 45 Good Things Despite the Hollywood, CA address on the label and the classic California garage sound, the Todes were from Provo, Utah. They traveled to Los Angeles to cut their only single, released on Emanon E-102 in the fall of ’66.”Good Things” (written by Steven Thomas) is a syncopated fuzz cruncher with the waltz bit of the Beatles “We Can Work It Out” thrown in towards the end of each verse. “One Hundred and Thirty Seven Degrees Below Zero” was filler the band assembled in the studio so as not to give up one of their better songs on a b-side (not an unusual practice at the time). Both sides list Zulu Publishing, BMI, production credited to “A Todell Production”.

At the time of recording members of the band were Steve Thomas (lead guitar and lead vocals), Dan Doty (bass and harmony vocals), Mike Hart (keyboards), David Donahoe (rhythm guitar and lead vocals, harmonica on “Good Things”), and Danny Murphy (drums). Prior members included lead vocalist Danny Davis and two keyboardists, Bill Jemisen and Bob Jetter. After the session for Emanon, Ralph Geddes joined on keyboards and Al Thomas on drums.

Dave Donahoe came from the Remnants with vocalist Jerry York, who had cut a 45 at Goldstar Studio in LA just prior to the Todes traveling there. Released on Gini 103 as Jerry & the Remnants, it features the excellent “I’ve Wasted My Time” plus “If I Love You Girl”.

60s Garage Bands has the full story on the Todes, and features both songs from their single along with two unreleased cuts, including the incredible “Heartbreaker”.

The only other artist on Emanon that I know of was Mike Lyman from Las Vegas, Nevada, a young teen backed with a quality band. Credited to Mike Lyman and the Little People, Emanon E-101 has a cover of Love’s “Message to Pretty” backed with “I Need You” an original that opens with the line “you make me kinda glad I love you”. There was also an unrelated Emanon label from Rochester NY.

Categories: Canada, Ontario, Ottawa

A Group Called Bubs

September 12, 2012 Chris Bishop 5 Comments

David Leroux of the Raphaels sent in the scans and story of his next band:

“A Group Called BUBS” became an offspring of former members of The Raphaels and The Skaliwags.
A number of us got together starting with my brother Ralph Leroux (drummer), John Bacho (guitar) and Chris Saunders (guitar) who had been with the Skaliwags. Former Raphaels Daryl Wadsworth (organ) and Claude Gravel (guitar) and now Don Burnet (bass) had been a replacement for Peter from The Raphaels. The new band proceeded under the name “A Group Called BUBS”! Essentially, BUBS was a British slang term for “Brothers”.
The BUBS had an original mission of doing the show band concept with the audience reaction that goes with that sort of organized show. Our inherited slogan: The organization that manufactures happiness! Recording was not a priority. I think we were having too much fun.
I have heard some tapes made by various folks but not sure where they wound up. My only tapes now are the “Farewell to the BUBS” poems and radio interviews from CFRA that they gave us on the final farewell night at Pineland. In the week preceding the Farewell Concert, CFRA had me on the nightly show to judge the farewell poems submitted and each hour choose one to be awarded albums from CFRA. Al Pascal was very supportive of us and our show.
As a result of times and events, The BUBS realigned somewhat with new member Terry McKeown (bass) and for a short period of time, Yvon Farmer (organ) from the Beau-Geste.
The BUBS had a good four year run in the latter part of the ’60s. We then sat down one day and looked at future considerations we could make at that time for ourselves. We laughed and moved on with great memories and no regrets. From time to time when travels bring us together, we can always count on a great evening of “unplugged” concerts for friends and family.
David Leroux

Categories: California, Los Angeles, Miramar, US

Zebra on Miramar Records

September 9, 2012 Chris Bishop 2 Comments

Zebra, from left to right: Jerry Beasly, Noe Cruz, Bob Silvert, Timo Laine and Bruce Bordon

Zebra 10" acetate from Gold Star Studios with both songs from the 45 — 10″ acetate from Gold Star Studios with both songs from the 45

One of the final releases on the Miramar label was Zebra’s “Helter-Skelter” released in 1969. The b-side was an original by Bruce Bordon and Timo Laine titled “Wasted” that in my opinion is the better side.

Zebra’s guitarist Timo Laine sent me the photos above and told me about the group.

Zebra members were:
Timo Laine: lead guitar
Noe Cruz: bass
Bruce Bordon: vocals
Jerry Beasley: drums
Bob Silvert: keyboards
Zebra was together for about 5 years. Everywhere we played there would be a line around the building to get in. We were loved by the dance crowd, and the club owners kept us busy.
Zebra opened for the Rolling Stones and the Byrds in the late ’60s in Fresno. We also played with B.B. King, Ballin’jack, Zephyr, Ike and Tina Turner and many other name acts, but I don’t remember them all. We were a full time club band, 5 nights a week.
Our main clubs were Pier 11 (Newport Beach), Finnegan’s Rainbow (Newport Beach), The Interlude (Santa Cruz), Odyssey Theatre (Phoenix, AZ), Santa Monica Civic Auditorium, Ichabods (Fullerton), Saint George and the Dragon (Tustin), and the Forum in Fresno.
We met Tony Cary at the Forum, where he first saw the act. He kept coming in every night and buying us drinks. Finally he said he was a record producer, and wanted to produce Zebra. Tony had a lot of industry contacts, and radio station friends like the Drake-Chenault radio station owners.
He moved the band to the Marriott in Studio City, and started recording the act at Pat Boone’s Lion and the Lamb Studio. We were almost finished recording the album when we got a telegram that Tony had died. We were told he had overdosed. This was a huge loss for us.
The album was never mixed or mastered, except the single “Helter Skelter” and “Wasted”, that was done first. I don’t know whatever happened to the masters.
After his death, I was offered a recording contract to record an album I wrote called Space Rangers with Neil Merryweather. It was recorded in Capital Records studio, and released by Mercury Records out of Chicago. After Space Rangers, I signed to A&M Records and released Symphonic Slam.
I had a new release this year, and another in 2011. I’m currently working on a new production: Jimmy Haslip (Yellow Jackets, Alan Holdsworth, Robin Ford) will be on bass, Mark Stevens on drums, me on guitars and guitar synths. Talks are in the works that Mark Stein (Vanilla Fudge) may do the keys.
My later albums are on timolainemusic.com
Timo Laine

Q. Was your band the same Zebra who released “Christmas Morning Parts I & II” on Blue Thumb in Nov. 1969, written, produced and arranged by Sean Bonniwell of the Music Machine.

Timo Laine: No, we were before they came out.

Thanks to Timo for his help with this post. See the page on Just Us for info on Neil Merryweather’s first bands in Ontario.

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