Category Archives: Studio

Categories: Angelus, Glendale, Whitney Recording Studio (Lorin Whitney)

Angelus Records discography

March 19, 2012 Chris Bishop 29 Comments

The Lacys Angelus LP Hallelujah When Jim Lewallen sent me scans of a 45 by his group the Goldenaires on Angelus Records, I started looking into the label’s discography. I really didn’t know what I was getting into!

Angelus Records was the in-house label for Whitney Recording Studio in Glendale, California. Lorin Whitney owned and operated the studio and played organ or piano on many of Angelus albums. Les Roberts described the studio to me, “the main studio was almost 50’ x 50’. Great acoustics!”

The label was either named for, or connected to the Angelus Temple of the Foursquare Church, the Pentecostal sect founded by Aimee Semple McPherson. the studio and label were in Glendale, five miles north of the temple.

All kinds of artists used Whitney for recording, but Angelus Records tended towards Christian inspirational music, but not African-American gospel music. It was a big operation, putting out hundreds of LPs from the early ’60s into the ’70s. Most Angelus releases were custom pressings: the artists paid for the recording and pressing of their records. However, Lorin Whitney had at least one release of his own, so Angelus may have marketed some of these albums. The acts came from all over the west, from Montana and Colorado all the way to Alaska, with many from Seattle and the state of Washington.

Within the Angelus catalog there are a handful of interesting releases in genres other than Christian spiritual music, but even the few heavy rock exceptions such as Stone Garden and Faction have religious overtones. The only truly secular recordings may be the Goldenaires and the Xanadus singles.

Like the Word label, it had some of the best album covers ever.

7″ singles on Angelus:

There seem to be relatively few 45s on Angelus, but the single by the Stone Garden “Stop My Thinking” / “Oceans Inside Me” stands out.

There’s also a 45 I’ve never heard by a group called The Acid Test, supposedly recorded at Sound Recording in Spokane. Anyone have a transfer of that one? Craig (MojoCools) sent in the scans seen here and wrote:

I believe [one copy] was unearthed in the Spokane area, while I found mine in NW Montana and always thought they were from Spokane/Couer d’Alene area. No SRC info on the trail off as it is only etched with WR-4803-A/ WR-4803-B and the “(copyright pending)” statement on the label doesn’t shed much light.
These guys sound like high school kids and can’t manage to pull of a lead break on the A side, and only barely at the end of the flip. A-side “What Do I Love” is almost heavy as Stone Garden but very inept and instead of a break they just modulate. Flip “Make Her Mine” is actually the Rascals “I’ve Been Lonely Too Long” and has a simple crude break towards the end.

Craig also sent the scan of the Foundation sleeve (above) and wrote:

Picture sleeve is a slick glued to a 7″ inner. It sounds pretty much like the sleeve looks. Acoustic guitar and electric bass. “The Man” = folky original that borrows from “All Along the Watchtower” a bit but adds some female scat vocals / harmony vocals giving it a sunshine pop sound. Flip is more soft folk sunshine which is a weird/happy way to sing about dying on the cross! This is not typical acoustic Christian folk.

First names are listed (Jim, Lou Ann, Jeanette and Mike), and a quote from Corinthians (“I laid a foundation as a wise builder, and someone else is building on it”) but no other info on who group was.

Angelus LPs:

Of the albums, the most famous by far is Jim Beach’s group Fraction, with their very desirable psych LP Moon Blood. Even this record, it should be said, has Christian theology behind it.

Other interesting releases that I haven’t heard yet are two jazz LPs by Ron Pittner recorded in France, another by Bill Maldonado, a country or folk rock album by an act known as Sierra, and the intriguing Joe Jim Paul’s Sings Song from Alaska with song titles like “The Midget Wildwood Little Girl” and “Pop the Magic Dragon”

I’ve included what I could find from the usual record selling sources, so please write if you have good scans or can help with the discography. This is obviously very incomplete – only about 100 records out of what could be as many as 1,000 Angelus releases.

Engineers on the albums include Doug Smith, Paul Elmore and Frank Kejmar.

Angelus Records discography:

45 rpm / 7″ records:
Angelus 45-1012 – Jack Moore – Goodby, World, Goodby (Mosie Lister, with Frances Moore organ and Cathy Bragg piano) / How Great Thou Art (with the Calvary Temple Teen Chorale)
Angelus WR-4342 – The Goldenaires – “What He Said” / “The Mad Hatter”
Angelus WR-4346 – The Music of Dick Charles and the Boys (no song titles, small center hole so probably 33 1/3 rpm)
Angelus WR-4442 – Xanadus – “Before the Dawn” (Boyd & Adams) / “Little Girl” (Wray) (reissued on Encore 4442)
Angelus WR 4446-45 – Elsie & Gene Jaggers – Train Song / Hilo March
Angelus WR-4749 – Rick and Dennis – “Redeemed” / “The Love Come a Tricklin’ Down” / “Where Will You Be When That First Trumpet Sounds” / “Let Me Fly”
Angelus WR-4803 – Acid Test – “What Do I Love” / “Make Her Mine”
Angelus WR-4819 – The Stone Garden – “Stop My Thinking” / “Oceans Inside Me” (Gary Speer)
Angelus WR-4942 – Foundation – “The Man” / “Can You Live” (with picture sheet glued on plain sleeve)
Angelus WR-5015 – Redwood Chapel Community Church – Sunday Night Sing! (33 1/3 7″ LP)
Angelus WR-5047 – Tom Keene and the Contemporaries – “What a Song” / “May I Introduce You to a Friend”
Angelus WR 5075 – Mr. Lucky and the Good Vibes ‎– “Streak Around In Your Bones” (Tom Thorne) / “Barefoot in the Rain”
Angelus WR-5095 – Blue James – “Fairytales, Fishermen, and Fools” / “Sweet And True”
Angelus KO-794881 – Brian Michaels – “Twenty Nine Miles from Boston” / ?

Xanadus Encore 45 Before the Dawn — The Xanadus Angelus single WR-4442 reissued on the Encore label

Albums:
Angelus WR-4105 – Kaufman Family Radio Missionaries (cover reads Angelus, labels have Whitney Records)
Angelus WR-4193 – Bud Garmo ‎– Songs Of Comfort
Angelus WR-4216 – Ray Kaady – Amazing Grace
Angelus WR-4227 – Moore Evangelistic Party (Marrles Moore, Frances Moore, Jack Moore & Merv Moore, piano by Loren Whitney)
Angelus WR-4332 – Vincent and Virginia Gizzi ~ Missionaries To Japan
Angelus WR-4342 – see 45 / 7″ list above
Angelus WR-4346 – see 45 / 7″ list above
Angelus WR-4362 – Don & Norma Tanner – The Tanner Team
Angelus WR-4365 – Lex Ellesin – Yugoslav Songs and Dances
Angelus WR-4368 – Bill Notehelfer – Forward to Christ, with Charles Magnuson & Lorin Whitney
Angelus WR-4371 – Jimmie McDonald – Sings From His Heart to You
Angelus WR-4379 – Bill White – Gentle Hands, with Sue Magnuson and Pattie Stiles, prod. by Wesley Tuttle
Angelus WR-4381 – Malcolm Fry ‎– Overshadowed
Angelus WR-4393 – Woodlandaires – Spring Concert
Angelus WR-4394 – Polly Prieto, Lorene Null, Elizabeth Null & Hilarion S. Raymundo ‎– Melodies From The Mission Field (Philippine Islands)
Angelus WR-4396 – Calvary Temple, Seattle, Bud Tutmarc dir. – My Heart Is Glad
Angelus WR-4409 – Ronald Drye – Balm in Gilead
Angelus WR-4419 – Dale Crowley – From My Heart to Your Heart
Angelus WR-4422 – Marian Estep – The News in Revelation
Angelus WR-4425 – Ron Schloss – Memorial Album
Angelus WR-4437 – Wilbur and Norman Nelson – Sing Praises

Angelus WR-4441 – Lorene Booth Koltovich ‎– Sacred Requests
Angelus WR-4442 – see 45 / 7″ list above
Angelus WR-4443 – Bud Garmo – Songs of Challenge

Angelus WR 4446 – see 45 / 7″ list above
Angelus WR-4447 – Bud Garmo ‎– I Never Walk Alone

Angelus WR-4458 – Roger Crymes – God Understands
Angelus WR-4479 – Marriage, Divorce and Sex (Message by Dr. Joseph Murphy)
Angelus WR-4497 – Marian Estep – Songs of Heaven
Angelus WR-4503 – Cass Schreib My Wonderful Lord
Angelus WR-4520 – First Baptist Church, Crescenta, Calif. ‎– Organ-Music Dedication
Angelus WR-4529 – Donna Reed – Fill My Cup Lord

Angelus WR 4538 – Northwest College Concert Choir ‎– “How Big Is God” Also “It Took A Miracle” (need confirmation of this one)
Angelus WR 4539 – Tom Keene and the Contemporaries – The New Sound In Motion

Angelus WR 4542 – Northwest District Youth Choir of the Assemblies of God, Seattle – I Have Christ
Angelus WR-4551 – Nelson & Jester – Good News Favorites, with Helen Nelson and Mary Jester
Angelus WR-4557 – Korean Blind Quartet – Songs of Another World
Angelus WR-4557 – Fairview Heights (Inglewood Ca) Baptist Church
Angelus WR-4559 – Gilbert Hynes ‎– Heart Songs Of The Spirit (need confirmation of this one)
Angelus WR-4569 – Berl Thomas – Hymns of Hope
Angelus WR-4561 – Fairview Heights (Inglewood, CA) Baptist Church Choir – In His Glory (need confirmation of this one)
Angelus WR-4572 – Harbor-Lites – Girls Trio
Angelus WR-4573 – Witnesses Trio – Nearer My God
Angelus WR-4591 – Don Calhoun – Sacred Songs
Angelus WR-4592 – David F. Webber – Mark of the Beast
Angelus WR-4597 – R. Norheim & Lutheran Gospel Hour Singers ‎– Lamplighter Songs
Angelus WR-4600 – Roy & Arlene Brewer – He Is Everything to Me
Angelus WR-4602 – Marian Estep – Old Favorites of the Church
Angelus WR-4616 – The Singing Servants, directed by Dean Schield
Angelus WR-4619 – Harold Holt – It’s In My Heart
Angelus WR-4638 – Judy Koenig – No Other Song
Angelus WR-4654 – Dr. Joseph Murphy – The Secret Of I Am That I Am
Angelus WR-4659 – Treble Heirs – No Other Song (Jane Fowler, Cherie Miller, Linda Morse)
Angelus WR-4663 – Brandts – No Other Name
Angelus WR-4677 – Wilbur and Norman Nelson – New Life in Christ
Angelus WR-4684 – The Proclaimers
Angelus WR-4701 – Elmer and Lee Bruno – Sonata Sagrada
Angelus WR-4705 – Alma Louise Shurte – Songs from the Heart
Angelus WR-4722 – The Singing Servants ‎– Day By Day
Angelus WR-4732 – Jane Nellis – Songs from the Heart
Angelus WR-4742 – The Lacys – Hallelujah! Unique Gospel Songs & Spirituals
Angelus WR-4749 – see 45 / 7″ list above
Angelus WR-4771 – Bethany Park Presents ’68 Camp Meeting – Melodies of Praise
Angelus WR-4778 – Marian Estep – Sing Unto the Lord
Angelus WR-4779 – Linda Baker – Paul Speaks to You
Angelus WR-4781 – Antanas Pavasaris – Dainu Ir Ariju Recitalis
Angelus WR-4789 – Taiwan Men’s Choir – Free China Sings
Angelus WR-4793 – The Hart Family – Paul, Connie & David Hart – Hart To Heart
Angelus WR-4802 – The Faith Tones – Jesus Use Me
Angelus WR-4803 – see 45 / 7″ list above
Angelus WR-4811 – Marian Rieth – Moments of Meditation

Angelus WR-4817 – Wilbur and Norman Nelson – More Gospel Favorites
Angelus WR-4818 – Bill Maldonado – … This Dream
Angelus WR-4819 – see 45 / 7″ list above

Angelus AR-4823 – Temple-Tones ‎– For His Glory
Angelus WR-4827 – Marian Estep with Lorene Kealy, Paul Kealy & Lorin Whitney – Songs of the Holy Land
Angelus WR-4833 – Ben Lippen School, Ralph Parker, Director – Music
Angelus WR-4842 – Jim Bergthold – Personal Peace
Angelus WR-4847 – Rodger Hall – Where Do I Go From Here
Angelus WR-4849 – Roy & Arlene Brewer – This Is the Life
Angelus WR-4853 – King’s Choralons & Northwest College Ladies’s Ensemble, Kirkland WA – God Is Alive
Angelus WR-4858 – Ray Kaady – Volume 2, Tell It Again
Angelus WR-4867 – Cymanfa Ganu & Welsh Church, Los Angeles – I Will Sing Hosanna
Angelus WR-4869 – Donald Rick with Dick Bolks and Lorin Whitney – In Sacred Concert
Angelus WR-4870 – Marian Rieth – Hallowed Moments
Angelus WR-4877 – Rise Up O Church – Sanctuary Choir, First Church Of The Nazarene, Whittier CA
Angelus WR-4885 – Marian Estep – Songs You Love
Angelus WR-4891 – Barbara Lowman, Soprano with Morris Mosby – I Asked the Lord
Angelus WR-4893 – Doris Beaulieu – Doris Sings Out in Sacred Concert, acc. by Coral Baerg
Angelus WR-4894 – Malcolm Fry ‎– Grace So Amazing
Angelus WR-4898 – Harbor Masters – The Harbor Masters Sing
Angelus WR-4916 – United Community Church Glendale – 10th Anniversary 1961 to 1971
Angelus WR-4926 – Bibleaires Trio ‎– I Shall Be At Home
Angelus WR-4933 – Ada Mouw Groen – Lord Is My Light
Angelus WR-4936 – Mizpah Singers (Barruel Bros) – The Living Rock
Angelus WR-4937 – Church of the Open Door – His People
Angelus WR-4942 – see 45 / 7″ list above
Angelus WR-4944 – artist? – What Color is Love (blank cover? I need a scan or confirmation of this one)
Angelus WR-4951 – Tom and Rachel Thorne – “Golden Kona” / “Magic in the Air” (R.T. Thompson Music Co., ASCAP – need confirmation of this one)
Angelus WR-4954 – Wilbur Nelson – Sings “These Are a Few of My Favorite Songs”
Angelus WR-4957 – Lutheran Gospel Hour – Anchored in Jesus / Anniversary Album
Angelus WR-4964 – Arnie Hartman – In Concert
Angelus WR-4982 – Kathryn Kuhlman presents Jimmie McDonald
Angelus WR-4990 – Neal Higgins – Fill My Cup, Lord
Angelus WR-4984 – The Sound Impressions – Presents … a Reason for Being (Otis Skillings, orch; Al Reis, photography; Chuck Hernandez, art design; Frank Kejmar, engineer; Jerry Lindsay, director)
Angelus WR-4989 – John and Linnie Olson – Radio Favorites
Angelus WR-4994 – Paul and Louise Greisen – I’m His to Command
Angelus WR-4996 – New Life ‎– Giver Of Joy

Angelus WR-5003 – The King’s Envoys – For Him
Angelus WR-5005 – Fraction – Moon Blood
Angelus WR-5009 – Dick Zeller – He Loves Us More
Angelus WR-5015 – see 45 / 7″ list above
Angelus WR-5024 – Vere Raley with John Lundberg Singers ‎– Baritone Soloist
Angelus WR-5031 – Marian Estep – God Is Our Refuge
Angelus WR-5032 – Chuck Kisner & Rose Parenti – Don’t Let a Day Go By
Angelus WR-5041 – The Brotherhood III and The New Life – A Reason to Sing
Angelus WR-5042 – Tact Singers (Teen Action for Christ Today) – Jesus Is (dir. Roger Clay, First Church of the Nazarene, Denver, Colorado)
Angelus WR-5047 – see 45 / 7″ list above
Angelus WR-5051 – Sierra
Angelus WR-5057 – F.X. McDonald, Jr. – Peace My Friends
Angelus WR-5059 – Robert Bowman – Songs of Enduring Faith
Angelus WR-5060 – Westmont College Choir
Angelus WR-5067 – Ken Hyde – If God
Angelus WR-5068 – Modesto Christian School Choir And The Children Of Modesto Christian School ‎– Good News! (need confirmation of this one)
Angelus WR-5069 – Master Design – Get All Excited with Master Design
Angelus WR-5074 – Mark Greer – Searching
Angelus WR-5082 – Pastor R. Norheim & Lutheran Gospel Singers – Gospel in Song
Angelus WR-5083 – Joyce Okert – Something Worth Living For
Angelus WR-5086 – The Jesters – Messages In Music
Angelus WR-5087 – Tom & Shelly (1974)
Angelus WR-5088 – Mark Greer – Resolutions
Angelus WR-5091 – Bill White – Reaching Out
Angelus WR-5095 – see 45 / 7″ list above
Angelus WR-5099 – The Dick Anthony Family – More Out of Life
Angelus WR-5102 – The Inspirationals and Lawrence Foley – Sacred Songs from the Crystal Fountain
Angelus WR-5108 – Jamie Burghardt ‎– Jamie Sings For God And Country
Angelus WR-5111 – Chuck Kisner – In His Name
Angelus WR-5113 – George Sanchez – Songs of the Shepherd
Angelus WR-5115 – Barruel Brothers – Born to Be King
Angelus WR-5117 – Tim & Roger – At the Twin Pianos
Angelus WR-5120 – F.X. McDonald – F.X. & the Boys
Angelus WR-5121 – Ken Finley – God Is Much Fairer
Angelus WR-5123 – Westmont College Choir
Angelus WR-5126 – John Steele – Closing Night
Angelus WR-5127 – Linnie J. Olson – Linnie (Rufus Harvey Jr. conducting)
Angelus WR-5128 – Clara Shannon – Singing Missionary
Angelus WR-5130 – Daybreak with Dick Anthony & the Orchestra
Angelus WR-5142 – Ron Pittner – Out from the Edge: Recorded in Concert, Paris, France, with Kent Carter (cello), Mototeru Takagi (saxophone), Takashi Kako (electric piano), recorded March 1974
Angelus WR-5143 (?) – Covenant Gospelaires present It’s A True Story
Angelus WR-5152 – Jim Bergthold First Tenor With The Haven Of Rest Quartet ‎– The King Is Coming
Angelus WR-5154 – The Ascensions – Playing Around with Jazz
Angelus WR-5156 – Neal Higgins ‎– To God Be The Glory
Angelus WR-5158 – Pierce Family ‎– A Song About Life
Angelus WR-5165 – F.X. McDonald, Jr. Soloist – Jesus Thou Art Coming w. Laurindo Almeida and Louise de Tullio
Angelus WR-5169 – Larry Vannucci – Anything Goes
Angelus WR-5174 – Freedom Ringers II (handbell music recorded during 1978 European tour)
Angelus WR-5183 – Joe Jim Paul – Sing “Song From Alaska” (with Son Gary Paul and John Angaiak)
Angelus WR-8081 – Jaggers Family – Across the Sea
Angelus WR-1943 – Ron Pittner – The Indigo Mirror and the Ivory Dot, Recorded in Concert, Orly, France,
Angelus WRLW-1981 – Lorin Whitney – Gospel Organ Favorites vol. 1

? – Christmas Time with Linnie
? – Riverside Professional Jazz Workshop

Master Design cover from Observatory. Thanks to Max Waller for the titles to the Blue James 45, to Dan Peterson for the Xanadus scans and to Jack for the Jack Moore 45 scans, to Gee K. for scans of 4877, and to John for the Elsie & Gene Jaggers info.

T.A.C.T. (Teen Action for Christ Today!) Singers - Jesus Is! Angelus LP — T.A.C.T. (Teen Action for Christ Today!) Singers – Jesus Is!

Categories: Birmingham, Brooke, Ed Boutwell Studios, Tommy Tucker

The Ramblers

July 10, 2011 Chris Bishop 12 Comments

Bob Ellis from the Alabama Record Collectors Association sent me this history of the Ramblers of Birmingham, written by Chip Sanders.

Back in 1961, the guitar playing Terrell brothers, Tommy and Eddie along with classmate Chris Covey found a junior high school drummer, Johnny Robinson, to play music. It was decided that the eldest brother, Eddie, would be the bass player, and Tommy would play rhythm guitar. Fellow Ramsey High School classmate, Van Veenschoten joined in to round out the group and play lead guitar. The group named themselves The Ramblers, and began playing for high school functions and fraternities and sororities in the Birmingham area. When Eddie Terrell received a tennis scholarship and headed to The University of Alabama, The Ramblers had no trouble in convincing Chris Convey, with the unusual nickname “The Spook,” to take over on the bass.

By mid-1962, The Ramblers were playing weekends regularly in and around Birmingham and cut their first record, “Stop That Twisting” / “Hundred Miles Away”, at Boutwell Recording Studio in Birmingham. Shortly thereafter, guitar player Van Veenschoten met Chip Sanders, a junior at neighboring Shades Valley High School, who was a piano player. The Ramblers auditioned Chip on a Sunday afternoon at Van’s parents home in Mountain Brook, and the nucleus of the group, that would become synonymous with “party band” was established.

An important early performance by The Ramblers at a state-wide Alabama high school Key Club Convention gave the group name recognition throughout the state, and soon The Ramblers of Birmingham were playing in Alabama cities and towns from Huntsville to Mobile. Practicing in a store room in the back of Johnny Robinson’s garage in Mountain Brook, Alabama, or in the basement of the Sanders’ home in Vestavia, The Ramblers were truly the proverbial garage band.

By fall of 1963, it was time for more of The Ramblers to make a decision, music or college! They decided on both, and as Tommy and Spook headed off to the University of Alabama and Johnny and Chip still in high school, the group began playing college fraternity parties at the University of Alabama.

By 1965-1966, The Ramblers were working regularly, primarily at Fraternity Parties around the southeast. Eddie, Tommy, Spook, and Chip had all become members of Pi Kappa Alpha fraternity at The University of Alabama, while Van was at Samford University and Johnny at the University of Montevallo. No longer rehearsing on a regular basis, the guys would meet up whenever and wherever the group might be playing.

In 1967, the group recorded another record at Boutwell Recording Studio, “Come Back, Come Back” / “Whole Lot Of Woman” written by keyboardist, Chip Sanders. The record experienced moderate success in the Alabama area, but college priorities prevented the group from properly promoting the record. Ed Boutwell, Birmingham recording pioneer, continued to use The Ramblers as back up musicians on many recording sessions at his studio.

Throughout this period, local radio station “sock hops” gained popularity amongst the Birmingham teenage population, and The Ramblers worked with local personality Duke Rumore of WYDE radio at Duke’s sock hop at the Ensley National Guard Armory, as well as Dave Roddy, from WSGN Radio at the Aporto Armory, across town. Also during this period the Ramblers were the backup band of choice for singers passing through Birmingham like Bobby Goldsboro or Billy Joe Royal.

As a “special added attraction” The Ramblers added a new set, featuring “Little John,” Chip’s kid brother, 11-year-old John Lee Sanders, who sang and played harmonica. John Lee Sanders, is now a successful song writer, performer and composer in the Bay Area of California. For the last 20 years he has worked with Long John Baldry, Starship, Paul Williams, Linda Arnold, and other popular entertainers.

As 1966-1967 came along, the world was quickly changing and The Rambler’s music began to change as well. Inspired by the psychedelic sounds coming out of the west coast, The Ramblers found a new sound with a young female vocalist, Vicki Hallman. Covers of the Jefferson Airplane, Linda Ronstadt and other female artists were added to their repertoire. After a brief marriage to drummer Johnny Robinson, Vicki continued her career in Nashville as a member of Buck Owens and the Buckaroos group and as a permanent cast member of the long running TV series, Hee-Haw.

With the Viet Nam War continuing to escalate in the late sixties, members of the group began to worry about the draft. This was definitely not the time to quit school and loose a student deferment to become a rock ‘n roll star. At various times during the next few years, Tommy joined George Bush in the Alabama Air National Guard, Chris joined the Coast Guard Reserve, Chip got in the Army National Guard three days before his draft notice, and Johnny became a reluctant member of the Talladega National Guard.

During their respective intermittent absences the group stayed together, with Terrell brother, Eddie, rejoining the group, along with a variety of substitute and fill-in players. As the sixties came to a close, one by one, the group began to graduate from college, get married and begin careers other than music. All the members of the group initially took jobs in Birmingham so that the band was able to stay together, but soon, the pressures of new careers, new wives, and even children began to put a strain on the group. “I don’t remember us ever officially deciding to break up. I just recall playing in a little town somewhere in South Alabama. We all brought our wives. It was a fun weekend. I remember staying in some ‘Bates Motel’ place and we all went swimming in their pool. That’s the last band job I can recall, but there may have been others,” said Sanders.

Johnny Robinson, who had tried to hold things together began touring with a new group, The Homestead Act, and subsequently moved to California to help his new wife start a music career. Chris moved away to seek his fortune, Chip moved near Memphis to start an insurance agency, and Tommy became a bank examiner for the Treasury Department.

The Ramblers were history, or so they thought. They stayed in touch with one another and by 1978 all of the remaining members of the group were thinking the same thing. They wanted to play again.

In 1979, the band regrouped as The Rambler Reunion Band adding Jim Burford on lead guitar to replace Van who died in a motorcycle accident in 1972. Chip moved out of state and was replaced by John Livingston on keyboards. Eddie rejoined the band to replace Chris who resides in Treasure Island, Florida. During the 80’s and 90’s the band continued working around the southeast entertaining at events with their 60’s music. Currently the RRB entertains at wedding receptions, reunion parties, company parties, club dances, and most any event that requires authentic 60’s rock and roll music.

Chip Sanders, 2011

The Ramblers, left to right: Chip Sanders, Chris Convey, Johnny Robinson, Tommy Terrell, Van Veenschoten

Johnny Robinson answered some follow-up questions I had about the photos and recording sessions.

The picture of the four of us [top of page] was taken at Highland County Club in December 1961. Van played lead guitar, Tommy rhythm guitar, Eddie bass. At this time we had very few vocals. That one mike and the small guitar amp (lower right corner) was our PA system. We bought the vests at Pizitz downtown.
The two professional photos were taken by Ken Ives at his studio in English Village down the street from Boutwell Recording Studio, where we recorded “100 Miles Away”. Chris Convey replaced Eddie on bass when Eddie left for college on a tennis scholarship. We have tons of other pictures through the years.
B.Temple is Brook Temple. He went to Shades Valley High School. We met him through Lee Shook, a mutual friend. Brook wrote “100 Miles away” with words about a girl he dated in Montgomery (100 miles from Birmingham) and asked us to record it. His mother paid for the recording session and the cost of the records. We did not like the words to the song, so we made it an instrumemtal. He also wrote “Stop That Twisting”. The Brook record label is his name. After all his mother paid for everything.
The second record, “Come Back, Come Back” was made in April 1967. The total for the packing slip was $123.10 for 510 records. That made them 24 cents each. The studio time was $300 as I remember. That made the total cost 83 cents each. Of course we did not made the records to make money, we gave most of them away to try and book more jobs. We have other studio recordings and live recordings.
The music scene in Birmingham was very active at this time – 1961 to 1968. The Distortions, Sammy Salvo, Willum Fowler, The Tremolos, Larry Parker, The Nomads, The Strangers, The Reflections, The Brood, and The Gents are just some of the local bands that recorded and released records on labels like Jo-Jo, Vibrato, Vesta, Lemon, Gold Master, Modern Enterprises, Malone, Vaughn-LTD, Malcolm Z. Dirge. There were many more. The ones I listed are part of my 45 collection. Others we were friends with: The Bassmen, Larry and the Loafers, The Kingsmen (not the famous ones), Daze of the Week, and Circus.

Packing list for the Ramblers 45 “Whole Lot Of Woman” / “Come Back, Come Back”

The Ramblers, left to right: Johnny Robinson (seated), Chip Sanders, Chris Convey, Tommy Terrell and Van Veenschoten

Categories: Brownsville, F Empire, Graves Recording Service (Eugene), Oregon, US

The Barber Green “Gliding Ride” on F-Empire

June 18, 2011 Chris Bishop 15 Comments

The Barber Green, circa 1968 Top left to right: Doug Collver, Don Harding, Mike McNeil, bottom left to right: Don Hurb and David Harding — The Barber Green, circa 1968, left to right top: Doug Collver, Don Harding, Mike McNeil; bottom: Don Hurb and David Harding

The Barber Green came out of Brownsville, Oregon, about a half hour north of Eugene. Like the Moguls, the Dominions, and other acts in the area around that college town, the band recorded at Alan Graves studio. They released one excellent 45 in 1968 on the F-Empire label, which is most well-known for the Beauregarde LP.

One side of the Barber Green single is “Life”, a gentle musing on a search for love and family, with harmonies and nice guitar picking. The flip “Gliding Ride” is more energetic. The guitar plays some excellent repetitive riffs as well as a good, short solo and the bass and drums are clear and well-played.

The lyrics are worth quoting:

Do you want to take a ride
A gliding ride, oh yeah, a gliding ride
We can see our city,
Yeah, our pretty city
We can see our city,
From a perch, it’s so pretty
We can see the lights all through the night
We’ll be in a daze until the break of day
Then tomorrow will come
We will go downtown
You’ll be wearing a frown
As you go downtown
The people will stare
As if they don’t care
Then you say, what is this (?)
Do you want to take a ride
A gliding ride, oh yeah, a gliding ride
We can see our city,
Yeah, our pretty city
We can see our city,
From a perch, it’s so pretty

Besides the polished songs on the single, there are four unreleased songs also cut at Graves which are much rougher. One is a cover of “Proud Mary”, but for me the other three are much more exciting, all single takes recorded live, with distorted guitar and vocals that peak in the red.

First comes “Destruction”, with a four-minute long repetitive section featuring guitar chords clipped by turns of the volume knob, a marching drum beat, and a long monologue. Halfway through the song, everything breaks loose for one of the wildest minutes of feedback since “Sister Ray”, then it’s back to the guitar motif and monologue for another three minutes to the close.

“(Thinking About The) Good Times” vaguely reminds me of the Pretty Things song of the same name in the way the lead guitar sustains distorted, wailing notes while the drummer cuts loose. Last is “Toe Jam (That Song)”, fourteen and a half minutes that build and extend into one of the more interesting jams I’ve heard from the time.

The band has plenty of attitude on these tracks, with even the vocalist willing to improvise with abandon for extended periods. Although it sounds excessive at times, I liked hearing this session because it shows a side of bands you don’t usually hear: creating music only for themselves without thinking of how it would come across to an audience, either live or listening to their record.

The Barber Green’s guitarists Mike McNeil and Doug Collver wrote the following history of the group:

We were a Pacific Northwest Rock and Roll band, playing in Oregon from 1966 until 1970. We played rock, pop, R&B and a few country & western tunes. We had a number of original songs and recorded a hit single 45 rpm record. The “A” side was the hit song “Gliding Ride”, the “B” side was a song simply called “Life”, recorded by Graves Recording Service in Eugene, Oregon, circa 1968.
The recording was not generally distributed, but was on the top ten list of a number of radio stations, and went to #1 on some West Coast stations, including KGO 810 AM, in Seattle, WA and KSFO 560 AM in San Francisco.
Band members included the late David Lee Harding, (lead singer), Donald Harding (bass guitar and vocals), Douglas Collver (lead guitar and vocals), Michael McNeil (rhythm guitar, harmonica and vocals) and Donald Herb (drums and other percussion). The band’s manager was the late Jack Richardson.
All the band members were students at Central Linn High School except for Doug Collver who attended Harrisburg Union High. We called Brownsville home and rehearsed in the old Brownsville Theater.
We played all over Oregon from Medford to Salem and from the Oregon coast to Oregon’s eastern border. In Eugene we were the opening act for the premier showing of the Beatles Yellow Submarine movie. Other memorable moments included more than one gig at the U of O student union which translated into frat parties. Crazy!
Our manager, Jack Richardson connected with country star Dottie West and she had us lined up for a USO tour in Viet Nam but the Tet offensive of 1968 prompted the cancellation of that tour.
40 years later The Barber Green reunited and that’s another story all together.
As well as our memories will allow this information was provided by:
Mike McNeil of Portland, OR and Doug Collver of Bend, OR

I followed up with some questions for Doug Collver:

Q. How did the band get that unusual name?

If you google “Barber Green” you will find a company that once manufactured a paving machine. Some one in the band came across one of these pavers one day and we became The Barber Green.

Q. How did the band break out of the Brownsville area to start playing shows around Oregon?

We were just kids who wanted to play our music. Jack Richardson was the one who did all the leg work and all the booking.

Q. Who did the song writing for the group?

I’m sure that David come up with the lyrics for “Gliding Ride” and “Life”. The music and orchestration was a collaboration that involved all of us.

Q. How did you find Alan Graves and his studio?

We purchased all of our equipment from Graves Music (Vox Super Beatle amps & Gibson guitars). Again the credit for the connection must go to Jack Richardson. He did all that stuff.

Q. Can you tell me about the four unreleased songs the band recorded?

We only had one recording session that resulted in the two releases mentioned above. With the rest of the studio time that was paid for we jammed. David made up the lyrics as we played. When the band reunited in March of ’09 we all brought whatever memorabilia we had saved over the years including copies of the LP that was cut from that session. I was able play it one time – one take, scratches and all and capture it forever.

Q. Did you or any of the other members stay in music after the Barber Green?

Don Hurb still plays a little. I put it down after the band broke up then started to play again in 1996. For the last 11 years I’ve been in a band called Blues Quarter playing clubs, resorts & special events in and around Central Oregon.

Categories: Chadwick's Recording Studio, New York, Oneonta, Upstate New York

The Other Half on Bell Sound, from Oneonta

March 22, 2011 Chris Bishop 24 Comments

The Other Half at Chadwick's Recording Studio in Utica — The Other Half at Chadwick’s Recording Studio in Utica

Brian Kirschenbaum submitted this article on the Other Half a band from Oneonta, New York. The band cut one folk-inspired 45 at Bell Sound, “It’s Been a Good Day” written by Glenn Schenenga and the excellent “I Won’t Be Back” by Glenn and Jeff Lyman.

Bassist Pete Lipsio wrote this history of the group and gathered the photos seen here.

The Other Half was organized in 1965 at Hartwick College, Oneonta New York; the members being Jeff Lyman (vocals), Steve Harrigan (lead guitar and keyboard), Peter Lipsio (bass), Glenn Schenenga (rhythm guitar) with Ed Welsh, Bob Kirsch and later Bill Pegler (drums). In the beginning there were but two individuals, (Harrigan and Lipsio), living in the same dormitory, who would get together to play their guitars. This duo soon found a local drummer in Ed Welsh with an existing band and a weekly venue at Molinari’s, a local bar and restaurant. While practicing together they attracted the talents of rhythm guitarist Glenn Schenenga and vocalist Jeff Lyman.
The group thus formed soon replaced that which was performing at Molinari’s and began to attract large crowds of college students from both Hartwick College and the nearby Oneonta State University. As their litany and variety of songs increased and matured, Steve further improved the groups sound with the addition of a Farfisa organ; alternating between same and lead guitar as a particular song required. While Steve played the keyboard, Glenn would assume the role of lead guitar and Peter that of Rhythm while Jeff carried on with vocals and an occasional guitar performance. It soon became obvious that their music needed more depth and thus Peter began playing a Fender Jazz Bass through a Fender Dual Showman amp. Jeff added a new Bogen sound system and Binson Echorec reverb while both Steve and Glenn increased their respective sound with a succession of larger and more powerful amplifiers and additional instruments.
The Other Half at Chadwick’s Recording in Utica
Shortly thereafter, the band recorded their first two hits at Bell Sound (later Bell Records) in New York City. Sales of the record proved to be a local phenomenon and the group acquired an ever increasing and widespread popularity with a television performance on Hank Brown’s “Twist- A-Rama in Utica.A new drummer and fellow college student, Bob Kirsch, soon replaced Ed and the band began an ever increasing spiral of popularity. Their music eventually attracted the attention of Gene Kipper, a well known agent and promoter based in Utica, New York who signed them for various performances throughout New York State.
The band continued to perform together throughout the Southern Tier of the North East; opening for The Rascals during the spring of 1967 while playing at numerous locations such as the Evening Inn and the College Inn at Saratoga New York, where they were booked for that entire summer. The band’s drummer, Bob Kirsch, a pre-med student, transferred to Wake Forest College and a new drummer and fellow Hartwick student, Bill Pegler, was obtained to be the group’s percussionist.
The band continued to play together with numerous performances throughout the school year of 1968, at the end of which, most of the members graduated and went about their individual lives. For the most part, the members of the band are now retired professionals who long ago left their musical roots to pursue different careers. In August of 2008, following a forty year hiatus, the assiduous efforts of Glenn Schenenga, reunited the members of The Other Half in communication with one another. Though now living in different states, the members are planning a reunion for the near future.
While unaware of this at the time, current research has demonstrated that there were two other contemporaneous groups with the same name. One being in Chicago and the other a West Coast band, each of some regional renown.
The years spent together, while in The Other Half and at college, hold a particular significance for each of the members, who consider this time in their lives to be among the most memorable of events wherein were formed the bonds of personal commitment to their music and a lasting friendship.
Pete Lipsio

Other Half vocalist Jeff Lyman at the Evening Inn

In the 60s this became the College Inn at Saratoga Lake

Categories: Columbia County, Hudson, Kennett Sound (Kinderhook NY), Mo-Foag, New York, Schenectady, Troy, Upstate New York, US

The Kynds – “So If Someone Sends You Flowers Babe” / “Find Me Gone” on Mo-Foag

February 26, 2011 Chris Bishop 9 Comments

The Kynds, from the Schenectady Gazette, September 16, 1966

The Kynds were a Capital region trio with members from Hudson, Troy and Schenectady, New York, and bookings throughout the area. They recorded their only single “So If Someone Sends You Flowers Babe” / “Find Me Gone” at Kennett Sound Studio in Kinderhook, NY.

Members included Joseph Cirincione, Jerry Porreca and Dan Wood. They were a trio of organ, bass and drums, which may explain why the organ is loud in the mix on both of these songs.

Jerry Porreca wrote to me “the band actually formed in Hudson. It evolved from the Del Tones to the Kynds and then Bits & Pieces.”

A short article in the September 16, 1966 Schenectady Gazette promoted one of their engagements. It gave a different bass player’s name, along with a different spelling of Joe Cirincione’s name:

The Kynds, featuring (from left) Jerry Porreca on drums, Denny Connolly, bass and Joe Cerincione, organ, are appearing nightly at Loreno’s Restaurant, 2235 Broadway. The group has worked at the College Inn, Saratoga Srpings, Excelsior House, West Sand Lake, and the Rose Garden, Amsterdam. They will be appearing with a second band, “The Four Most.”

In a comment below, Rick Piester states that he “was the original bass player in The Kynds. Had worked with Jerry Porreca earlier in the Del-Tones”.

The Kynds released this great 45 on what must be their own Mo-Foag label in the second half of 1966 (RCA custom pressing number TK4M-5296).

“So, If Someone Sends You Flowers, Babe” has become a favorite of mine, with its repetitive organ lick and quiet vocals. As far as I can make out, some of the lyrics are:

Kynds, Good Times Troy Record 1966 April 9 — The Kynds at the Excelsior House, ad from the Troy Record, April 9, 1966

It really makes no difference if you like what you see in me
Not a chance babe,
‘Cause I’m happy,
That we are free (?)
What you say girl,
It don’t have no effect on me
So, if someone sends you flowers, babe,
You know it wasn’t me.

It was written by Dan Wood and Joe Cirincione, Jr.

The b-side is the fast “Find Me Gone”, with its famous shout near the end of the song, written by Joseph Cirincione, published by Upstate Music BMI.

Thanks to Brian Kirschenbaum, and to Jonas Carlsson for help finding the clipping from the Gazette.

Categories: Alabama, Birmingham, Ed Boutwell Studios, Knight (AL)

The Knights Band – The Original Knights

January 25, 2011 Chris Bishop 12 Comments

The Knights Band, from left: Bill Ashton, David Keller, Bick Mitchell, Carson Hood, Dudley Parker (?), and Ray Edwards

The Knights Band were Ray Edwards (vocals), Dudley Parker (keyboards), Carson Hood (bass), Bill Ashton (sax), Bick Mitchell (drums) and Dave Keller (lead guitar).Vocalist and DJ Ray Edwards sent in the early photo of David Keller’s first band, the Knights and gives some background, below.

The Preachers was David’s third band. In Shades Valley High School in Birmingham in the early 60’s, David played lead guitar for The Knights. I was the singer (little guy on the end) and “booking manager.” Other members were Bill Ashton (sax), Carson Hood (bass), Dudley Parker (keyboards), and Bic Mitchell (drums).
I graduated in 1963 and after a year at UAB in Birmingham headed to Tuscaloosa and a job 5 nights a week as a DJ at WJRD in Tuscaloosa. I was “invited” to drop out of the group. David took over lead vocals and sort of manager. They changed their name to The Original Knights and put out a 45 record to promote the band.
In the late 60’s I ran into David. He had just bought the convertible and told he he was making great money promoting bands. He said he had paid 21 $100 bills for the car. This was in Panama City where he had the club. The next thing I heard was that he was about to be drafted and had headed for Canada.
I have caught up with Bill Ashton, he is in sales and gets to Alabama from time to time. I met Dudley Parker at a wedding I was Djing for. (DJ company is Alabama Entertainment – alaentertainment.com) I talked with Bic who was filling in with a band playing at The Club. Carson died some time after we were in the band.
I have often wondered what happened to David. He was always “Crazy David” even when we had Saturday Morning band practice in his parents garage on Dolly Ridge Road in what became Vestavia Hills.
Ray Edwards

The Original Knights, from left: Carson Hood, Bill Ashton, Bick Mitchell and Dave Keller

When Edwards and Parker left, the band became a quartet, now calling themselves the Original Knights. This group released one 45 on their own Knight Enterprise Records recorded at Boutwell Recording Studios in Birmingham. David Keller wrote both songs, “Going Fishing” and “Please Don’t Go”, which has vocals credited to Keller and Carson Hood.According to the sleeve, Keller attended University of Alabama in Birmingham while Hood and Mitchell were students at Walker Jr. College (now Bevill State I believe) in Sumiton, 25 miles to the northwest. Bill Ashton is listed as attending the more distant Auburn University.

For further info on David Keller, check out the page on the Preachers.

Thanks to Ray Edwards for the photo and info about the Knights Band, and also to Jeff Lemlich for the scans and transfers of the 45 as the Original “Knights”.

Categories: Arthur Smith Studios, Chain, Copeland Sound Studios, Dial, Fred Foster's Sound Studio, Hickory, North Carolina, Winston-Salem

The Teen-Beets and Words of Luv, from Winston-Salem

October 1, 2010 Chris Bishop 4 Comments

The Teen-Beets, from left: Ken McGee, John McGee, George Samaras and Paul Doby

The Teen-Beets of Winston-Salem, North Carolina released four fine records, the first three featuring original songs by vocalist and guitarist John McGee along with covers of Barbara Lynn’s “Oh Baby”.

George Samaras sent in these cool photos and clippings and told me about the group:

The band was formed in Winston-Salem, North Carolina at the end of 1964. The original line-up consisted of two brothers, John McGee (lead guitar & lead vocals) and Ken McKee (rhythm guitar & lead vocals). The two other band members were Paul Doby (bass guitar) and me – George Samaras (drums).
By the summer of ’65 we had recorded our first record at Arthur Smith’s studio in Charlotte, NC (“I Guess That’s Why You’re Mine” / “Not In Love With Me”) and released it on our own label, Chain Records. It received considerable local air play and reached #20 on one of the local radio stations top 40 list. Around this time we all dyed our hair bright red (as in Teen “Beets”) to attract attention. It worked!
Our second local release (“I Should Wait” / “Oh Baby”) was also recorded at Arthur Smith’s studio and released on Chain Records. Although it received considerable local air play it did not chart.

Winston-Salem Journal, June 19, 1965, with hair stylist Bobby Todd

We stuck with the bright red hair and high energy stage shows achieving local notoriety. We also had a change in the band membership. Paul, our bass player, was replaced by Stan Ratcliffe.
In early ’66 we traveled to Nashville, Tenn. and re-recorded “Not In Love With Me” and “I Should Wait” in Fred Foster’s Sound Studio for Tree Publishing Company. It was released on Dial Records under the name the “Beets” but quickly faded into obscurity.

Opening for Roger Miller at Memorial Coliseum

Soon afterwards, management of the group was taken over by Pete Berry – a local DJ and program director better known as the Flying Dutchman. Under Dutch’s guidance we got rid of the red hair and changed our name to the “Words of Luv” and returned to the studio to record “I’d Have To Be Outta My Mind” / Tomorrow’s A Long Time”.
Dutch was able to get us signed with a booking agency in Washington, D.C. and also with Hickory Records for a four record deal. We went on the road playing up and down the east coast. Hickory Records released “I Have To Be Outta My Mind”. While the record received good reviews in Cashbox and Billboard magazines, it only received limited air play on the national scene.
In order to earn a living, Paramount kept us booked steady in real night clubs (usually a week or two at a time) which gave a break from doing one nighters all the time. Also, we would occasionally back up some of Paramount’s fading stars. We worked with Little Eva a few times, she had a national hit called “The Locomotion” about five years prior to that time. Whenever we were with her we were the Locomotives. Also, with Jimmy Jones a couple of times. Jimmy had two national hits a few years before that – “Handyman” was his first and then “Good Timing”. With Jimmy we were the Handymen.
The promotion picture of the “Words of Luv” has the name of the band misspelled – “Love” instead “Luv”. It was the printer’s mistake and Paramount Artists made them redo the entire order. Mistakes seemed to follow us around. When Hickory Records did the initial pressing of promotion copies for “I’d Have To Be Outta My Mind” they accidently put the plug side star on the flip side and starting sending it out to radio stations before they caught their mistake. Because of this, they had to do another promo pressing and start sending it out again.
Promo sheet showing later member “Fab” Foltz
We didn’t get all the way up to Montreal. We only toured on the U.S. side of the border and the closest we played to Canada was upstate New York. As I recall, the very first gig booked through Paramount Artists was in Massena, New York (right on the Canadian border). We traveled extensively up and down the eastern seaboard (north and south), but only as far north as New York. I guess “Montreal to Miami” just sounded good to whoever wrote that promo sheet. However, we did go just about everywhere in-between.
We did a few TV shows: Some local shows in North Carolina, a show called ‘Wing Ding” in Washington, D.C. and a syndicated show (taped in Maryland) called the “Kirby Scott Show”. We also played a lot of teenage night clubs, dances and auditorium shows.
We had a fifth band member for a short period of time on the road. His name was Doug Foltz (nick name: Fab). Fab played electric piano and also sang lead.
By the early Fall of 1967 the road was taking its toll and the band broke-up. Although we had recorded a few more songs, due to the band’s break-up, they were never released. They were independently produced by Flying Dutchman Enterprises and I don’t know whether or not they were ever turned over to Hickory Records. I’m sure those master tapes are long gone by now.
“I’d Have To Be Outta My Mind” was re-mastered and put on Garage Beat ’66 Vol. 1 three or four years ago. It was a CD released by Sundazed Records. Our local releases were put on Tobacco a Go Go (Blue Mold Records) several years back.
Even though I later played in a few other road bands, and still occasionally play locally on weekends, my fondest memories will always be of the Teenbeets.
One more thing – I came across an interview that Ken Friedman of Tobacco A Go Go did a little while back. He was relating the story of the Teenbeets as one of his favorite garage band stories. In the interview Ken said he had met one of the former band members back in the 1980’s and that person was now a Moravian minister after finding religion on the battlefield in Viet Nam. Ken misidentified that person as the drummer. In actuality it was Paul (our original bass player).
George Samaras
Review of Hickory 45 in Cash Box

Thank you to George Samaras for photos and scans.

Categories: 1 2 3, Alabama, Daisy, Ed Boutwell Studios, Tuscaloosa

The Omen & Their Luv

September 17, 2010 Chris Bishop 28 Comments

The Omen and Their Luv, 1967: Don McGlamery and Jeff Neighbors, Bill McClain, Bruce Hopper and Tommy Stuart — “We kicked out the horn players and went psychedelic” – The Omen and Their Luv, 1967
Front: Don McGlamery and Jeff Neighbors, back: Bill McClain, Bruce Hopper and Tommy Stuart

Omen and Their Luv released one of the best singles from Alabama during the ’60s. “Maybe Later” sounds fantastic – Tippy Armstrong’s buzzing guitar is all over the song while Tommy Stuart sings his too-cool-for-you lyrics. I especially dig the way he wails the end of each chorus:

Ain’t gonna get me in church
You try all you like, but it ain’t gonna work.
Not gonna go downtown
I’m staying out here where no pictures around
Gotta know you better baby,
And if I like you, well, maybe later!
Won’t thread the needle baby
Don’t wear your shoes and I think you’re crazy
Gonna be a cold day in June
Leave me alone I’m going to finish my tune
Need to know you better baby,
And if I like you, well, maybe later!
Need some time to think about it baby
And if I think real hard, well, maybe later!
Won’t pick flowers in the rain
Leave me alone and I’ll go back where I came,
I see a lot of things I need
And I need your love, but just as long as it’s free
Need some time to think about it baby
And if I think real hard, well, maybe later!

If “Need Some Sunshine” doesn’t catch you at first, wait until 1:22 into the song, when it shifts into a different time signature and, thanks to some eerie backing vocals, a whole other realm.

Bruce Hopper wrote to me about the group, and also sent some unreleased songs, including the fantastic “Another Girl” from the same sessions that produced “Maybe Later”. I’m including an excerpt of the songs here, in the hope that they can receive a proper release at some time in the near future.

I am the founder and former bass player for the Omen and Their Luv. I formed the O-men in 1966 with Fred Deloach. We were originally a 60’s white soul group with horns. The original lineup was myself on bass, Fred Deloach vocals and sax, Mike Hatchett on drums, David Popp on trumpet, Billy McClain on guitar and John Purdue on keyboards.
Labels spell Tommy’s name “Tommy Stewart”
We went into the studio in the fall of ’66 and cut a six song demo tape: “Hold on I’m Coming”, “Hungry”, “Steppin’ Stone”, “Wooly Bully” (we were the opening act for Sam the Sham when he played Tuscaloosa), also two originals, “You” and “Hurry on Back” written by me and Fred Deloach. This tape was done at Boutwell’s “church” studio with Ed Boutwell doing the engineering. Boutwell Studios located in Birmingham was the only decent studio in central Alabama that recorded rock’n’roll. This tape I presented to Duane Allman (who liked it) and to Steve Caldwell of the Swinging Medallions / Pieces of Eight, whose dad, Earl Caldwell owned several clubs in Panama City Beach, Fl. This demo landed us a gig in Panama City working for Earl.The O-men would play a jam session at the Beach Party every day from 2-4. We would then open for the “Pieces of Eight ” at 8pm and do a set. They did a set and we would come back on at 10 for a set. Then we had one hour off to get down beach to the Cork & Bottle Club (later renamed the Red Rooster) for our regular gig of playing from midnight to 5am! This was our work schedule seven days a week for two months straight.
We added Tommy Stuart right before we started this gig. He had just left the Rubber Band after they had a hit with “Let Love Come Between Us” that Johnny Wyker wrote (later with Sail Cat). Tommy played sax, sang and played keyboards. Due to band stress, Fred left the band half way through the summer.
When we got back to Tuscaloosa, Mike brought Jimi Hendrix’s first album to practice and that changed everything. We switched from white soul to psychedelic rock. David Popp left on trumpet.
Because of the change to harder rock, we changed the name to The Omen and Their Luv. Hatchet moved to Atlanta and we brought in Jeff Neighbors on drums. We also added Don McGlamery on rhythm guitar and sax. This was the lineup in the pic by the gas pump.
We went into the studio in the fall of 1967 to record four of Tommy’s songs. Again we recorded at Boutwell’s Studio. Tommy Stuart wrote “Maybe Later” and sang lead vocals. We snuck some young girls in to sing backup, but their parents would never let them tour with us.
We brought in Tippy Armstong (later a studio musician in Muscle Shoals) to play lead guitar on all four songs. Since Tippy came to the session, Eddie Hinton (Muscle Shoals session man) showed up to visit and started telling Ed Boutwell how to mix. Boutwell got pissed and told Eddie to mix it. So “Maybe Later” ended up with some top notch studio guys helping us out.
I met David Keller when he was playing with The Preachers in 1967. After the Preachers, David had a booking agency that he ran out of Montevallo where he had attended college. He was wanting to expand into booking and producing and club ownership. He liked our tape and we were the first band he booked onto his Daisy label. “Maybe Later” was the A side and “Need Some Sunshine” was the B side. The record sales had minimal success, but the airplay led to great crowds at gigs promoted by Keller.
“Good Man” which was to be our next single, but it never happened under David Keller. “Another Girl” was to be the “B” side of our next release.
The Omen & Their Luv – Good Man (excerpt)
The Omen & Their Luv – Another Girl (excerpt)
He had a group of bands that included the Omen, The Outer Mongolian Herd and W.C. Doan and Co. that he booked. For a short while he opened a recording studio on 15th St. in Tuscaloosa where some of his bands recorded. He also started a club in Panama City in June of 1968 called the Head Shop. We were the opening act. For two weeks we played as The Omen and Their Luv, then we would play for two weeks as the Preachers doing their hit song “Inspiration”. Fun times.
David countined to book us across the South for at least a year. He also had the Shingaling Club in Selma, AL. We played there every Saturday night for at least six months until one night we let some black musicians sit in with us. The next Saturday we showed up and the Sheriff had put a pad lock on the door with a sign reading “Closed until further notice by order of the Sheriff of Dallas County”. Selma 1968!

Omen and Their Luv, 1968, from left: Tommy Stuart, Mike Thornton, Jeff Neighbors and Bruce Hopper

The Rubber Band 45 "Your Man Done Gone" from 1970 featuring the last Omen lineup of Tommy Stuart, Mike Thornton, Bruce Hopper and Asa Gaston — The Rubber Band 45 from 1970 featuring the last Omen lineup of Tommy Stuart, Mike Thornton, Bruce Hopper and Asa Gaston

Billy left and was replaced by Mike Thornton from the Shadows. By 1969 we were down to a 4 piece as shown in the other photo. Bill Stewart (Allman Brothers Band) replaced Jeff for about six months and then Asa Gaston (Locust Fork Band) came in on drums.
The four piece of Stuart, Hopper, Thornton, and Gaston went on to re-aquire the name Rubber Band which Stuart owned the copyright on (Tommy later sued and won a copy right infringement case against Bootsy’s Rubberband). We recorded on 1 2 3 Records [“Your Man Done Gone” / “Peeking Through Your Window”] with Tommy playing keyboards, flute, sax and doing the lead vocals. Unfortunately our song had the exact same rhythm and chord changes as “Spirit in the Sky” which was released one week before our song.
We did an east coast tour the summer of 1970. Things were falling apart by that time. Mike Thorton left and was replaced by Tommy Joe White. Asa didn’t want to do the tour because he just got married, so we added a session drummer from Colorado for the tour. I left the group after the tour.
Asa and I later formed another local band with Jim Coleman (check out his website) and Jimmy Butts. We were known as Mr. Wizard and recorded a one hour special for Alabama PBS. More bands in the 70’s. Owned the Chukker in Tuscaloosa in the 80’s and promoted music for years. Now I back up Carroline Shines, the daughter of blues legend Johnny Shines.
Mike Hatchett later went on to play with the Brick Wall out of Atlanta and worked as a roadie for Little Feat and George Jones and many others including Kiss, Ronnie Milsap, Blue Oyster Cult, etc. Billy McClain died of cancer after a succesful photography career. Don McGlamery later moved to Norway and was a succesful street muscian there. [ChasKit: Don passed away in January, 2006].
I have been listening to our body of work with the Omen, Omen & Their Luv and the Rubber Band and am going to talk with Tommy about doing a retrospective CD of all the material from the ’60’s and 1970.
Bruce Hopper

In a comment on the post about the Preachers, Tommy Stuart added:

We’d recorded it on our own but a disc jockey from Northport knew David & that’s how all of that happened. He had a big teen dance place in Panama City in about 1968 & we played there as The Preachers, & also a one nighter or two that way. It was a little weird but we learned their record “Hallowed Ground” & got up there & I sang it like it was mine. Later, I bought Dave’s screaming white Hammond M2 organ he’d used in the Preachers.

Tommy Stuart has a new group called O-Men and Their Luv, with a CD No Twin.

Thank you to Bruce Hopper for sending in the photos and song transfers and for patiently answering my questions.

Omen & Their Luv on the Quad at the University of Alabama: Tommy Stuart, Mike Thornton, Asa Gaston and Bruce Hopper. — On the Quad at the University of Alabama. From left: Tommy Stuart, Mike Thornton, Asa Gaston and Bruce Hopper.

Categories: Akron, Buccaneer, Cleveland Recording, Faux Pas, Ohio, Rite Record Productions custom pressings, Suburban

Bobby Runnel’s Faux Pas “True Love – Heartaches”

September 3, 2010 Chris Bishop 39 Comments

Given Bobby Runnel’s career as a lounge act during the mid-late ’60s, you’d think it unlikely that one of his songs could become something of a classic of mid-60s rock. His original song “True Love – Heartaches” has been a favorite of mine since hearing it on Teenage Shutdown vol. 11. He certainly must have believed in the song, as he recorded it three times in as many years.

Bobby Runnel was born Robert Wilson, the son of a Southern Baptist preacher, and raised in eastern Arkansas, a rural area now part of Little Rock. Across the river was Memphis, where he picked up some of the early rock ‘n roll styles of the ’50s. He moved to Miami and started the Faux Pas trio, touring the east coast and mid-west.

In Nashville he recorded “True Love – Heartaches – False Love” as the b-side of his first single, released in September 1965 on the Buccaneer label from Jackson, Mississippi. The A-side is what I’ve heard is a soul ballad featuring flute, “If Your So Mart”. The artist is listed as Bob Runnel’s Faux Pas III with John Sherwood and Ivano Comelli (sp? – Ivann Comelli?). He had a second 45 on Buccaneer (509) “For My Baby” / “Where’s Willie Walker” that I haven’t heard.

I recently heard a clip of this first version of “True Love – Heartaches – False Love” and it’s pretty cool, slower with piano as prominent as the guitar and good drumming. If anyone has sound transfers or label scans please email me.

In 1966 the band found long-term work in northern Ohio, based mainly in Akron at Ninos’ restaurant and lounge. The clientele was older and Runnel’s repertoire ranged to all kinds of pop styles from folk to mainstream pop. The Faux Pas trio changed personnel from time to time, but always with Runnel playing lead guitar and singing. The two records I’ve heard also feature piano, so at least in the studio they were more than a trio.

Runnel cut “True Love – Heartaches – False Love” for a second time at Cleveland Recording (not in Little Rock as noted elsewhere) in 1966, released on Suburban Records CRC 2031 (white labels). On this release the band is listed as simply the Faux Pas III. It was the b-side of “Baby What You Gonna Do”, a good New Orleans-type r&b.

Songwriting credits on both sides are listed as Runnel, Comelli and Lott. Also on Suburban is another single featuring the Faux Pas backing a Janet Stewart, “What Can I Do” / “Brand New Love”.

In January 1968 he released the third and best version of “True Love – Heartaches”, recorded at Akron Recording and released on his own Faux Pas label (a Rite pressing: 21131/21132 with black labels). The A-side this time was a cover of “Black Cloud”, a hit for Me and Dem Guys on Palmer from late 1966. It’s a song I’m not very fond of but the Faux Pas do a great job, especially the drummer who lays down a beat like a locomotive. Whatever the limitations of their lounge act, this band could rock when it wanted to.

On this 45 the band is credited as Bobby Rúnnel’s Faux Pas, with an accent over the “u” in Rúnnel. Rúnnel is also listed as sole song writer on “True Love – Heartaches”, as well as producer.

In 1969 they released a pop 45 as the Faux Pas that I haven’t heard, and also during the late ’60s Runnel had two LPs featuring his typical lounge repertoire and probably sold as souvenirs of his club act. Bobby Runnel, A Winning Streak Of One on the Hawk label features a photo of Bobby with an acoustic guitar, and lists some of the songs: “Big Boss Man”, “A Place in the Sun” and “Malaguena” along with original jokes!

In the early ’70s he broke up the Faux Pas and did well as a songwriter in Nashville.

All info cribbed from Buckeye Beat, with some 45 release info from Mop Top Mike.

Categories: Robin Hood Studios (Tyler), Texas, Ty Tex, Tyler

The Sensors (with Bugs Henderson)

July 25, 2010 Chris Bishop 4 Comments

I’d been wondering if there were any great rock 45s on Ty Tex when I found The Sensors “Sen-Sa-Shun” / “Side Tracked” at Rex’s sidewalk sale this spring. As it turns out, the Sensors had four 45s on Ty Tex.

Buddy Henderson would come to be known as Bugs Henderson when he joined Mouse and the Traps. He started the Sensors in his hometown of Tyler, Texas when he was just 16.

On these two Freddy King songs, Buddy articulates every note, making these two of the better r&b instrumentals I’ve heard. “Side Tracked” has a good jazzy organ solo to boot.

Their version of “Rumble” is also cool, even if it doesn’t have the menace of Link Wray’s original. The organ provides an eerie background. Buddy gets a shimmering tone out of his guitar chords with a ferocious slicing sound towards the end of the song

I haven’t heard the flip side, a version of “Caravan”, but Not Fade Away #2 says guitarist on that side was Levi Garrett. I assume these were recorded at Robin Hood Brians’ studio in Tyler, but I could be mistaken.

The A-side of their third single, “Bat Man” is credited to Henderson and Pittman. The flip is a cover of Jack McDuff’s “Light Blues”.

TT-112 – Sen-Sa-Shun / Side Tracked
TT-115 – Rumble / Caravan
TT-117 – Bat Man / Light Blues
TT-120 – Honest I Do (vocal) / Honest I Do (instrumental)

Thanks to Rich for the transfer of “Rumble” and to Greg Reyes for the scan of “Bat Man”. Thank you to Martin Hancock for finding the scan of “Rumble”.

Garage Hangover