The Contents Are continued until around 1972, when they changed their name to Tabernash and moved from Davenport, Iowa to Westminster, Colorado, just northwest of Denver. Prior to their move, they made this one single on Dym-a-Nite, the only release they would have under the Tabernash name.
The members of Tabernash were Craig Hute, Dave Neumann, Paul Staack and Mick Orton.
“Head Collect” is an excellent rocker written by Craig Hute. The song dates back to 1969, when a demo was recorded at Columbia studios in Chicago. The single is 44 seconds shorter, quicker in tempo, with a drier sound than the Columbia studio demo, but both are excellent performances.
“Out of the Cold” is another original by Craig Hute, again dating back a couple years, this time to a demo session at Golden Voice Recording Studio in Pekin, Illinois from 1969 or 1970. The Dym-a-Nite 45 is more sparse and plain in production than the Golden Voice demo, and is also 90 seconds shorter. Songs from that session will be released by Alona’s Dream Records in 2017.
The deadwax contains a “tulip” marking that indicates Wakefield in Arizona pressed the single, with a five digit code dating it to February 1972. Both sides have publishing by Sarfran / Unichappel BMI, and “Produced by Tabernash for Experience Group” and “Dist. by the Clouds, Bellville, Ill”.
When I sent scans and audio of the Dym-a-Nite single to Mick Orton, he didn’t recall it. After speaking to Craig Hute, he reported back that one of their managers, Spence Stein owned the Dym-a-Nite label and worked with someone at Unichappel to release the single. The band didn’t hear it until they had made the move to Westminster, but they disliked the quality of the pressing.
The Fownds came from Hudson, New York. They had two singles, first the thumping rocker “Comin On Strong” b/w the doo-wop influenced “Rosalin” in 1971, and then the moody “Remember” b/w a hot rod parody “Wheels” (the band name changed to the Founds on this release).
Both singles have a sound like something from the early-mid ’60s despite the release dates.
Donald Moore wrote most of the songs and did some lead vocals. Sal Gambino wrote “Rosalin”, and Roy Jackson sang lead on the moody “Remember”.
The Fownds released both singles on their own Reeb label (“beer” spelled backwards), a custom label through Earl Kennett’s studio in Kinderhook.
Don Moore had a later band called Confusion, I believe he passed away in 2013.
Billy Sandlin came from Ocala, Florida, starting his recording career in 1959 with the tough-sounding “She’s Mean” b/w “Don’t Let Me Down”, released first on Vim Records then on Gala. From the start he showed an ability to sing a wide range of styles, from uptempo rock to melancholy ballads.
In 1961, Sandlin had a second single on Gala, “Teenager’s Dream” in a slow doo-wop style b/w the latin-ish “Cha Cha Bop”. Around 1962 he left for Germany, presumably for military service.
Overseas he cut a neat rocker called “My Little Twisting Baby” with a local group known as the King-Tones, but it wasn’t issued until he returned to the U.S. in 1963, as Billy Sandlin with the Strangers and the Bluetones on Strike Records.
Next came a single on Viking Records, “You’ll Always Have Someone”, produced by Larry Montague and still very much in a teen style, released circa 1964, though I could use confirmation of that date.
In 1966 he found a tougher accompaniment by the Interns for the fine “Poor Rich Girl”, especially in the repetitive guitar line, and Sandlin’s voice really suits this hard r&b style. The b-side “Here Comes That Feeling” is very good downer garage. My copy is on Royale 1966.326, but others exist with the label name changed to Royala, which would match his next single.
Later that year came Royala 1966.329, “I Kept On Walking” written and sung by Billy Sandlin with ‘the Interns Orchestra’, b/w “Sweet Loving”, sung by Ace Perryman and written by Stewart and Perryman. I haven’t heard either song yet. “I Kept On Walking” was also the b-side of Sandlin’s single on Viking. This single and “Poor Rich Girl” both credit Jack McGowan for management.
Jack McGowan owned the Teen Time Club in Ocala, according to a short article in the Ocala Star-Banner from 1967, and I think Royala/Royale was his label. I believe he is the same Jack McGowan who produced the The Great Masquerade, also known as The AC/DC Caper, filmed in Miami in 1973.
The Sounds of Sandlin, from left: Henry Rawls, John Tabor, Andy Facundus, J.W. Howell, and Billy Sandlin
Circa 1969, Billy Sandlin was the singer on two demo acetates recorded at National Guild Recording Studios as Sounds of Sandlin.
John Tabor sent in the photo seen here and gave the lineup of the group:
Henry Rawls – vocals & trumpet John Tabor – vocals & lead guitar Andy Facundus – bass guitar J.W. Howell – drums Billy Sandlin – vocals & rhythm guitar
“Come on Up to My World” and “Dream Train Ride” are solid psychedelic numbers, while “Sunshine” is a quiet ballad in a folk or country-rock style, and “I Need You” has fuzz guitar but is more of a pop song. All four songs feature two vocalists singing each line of verse.
National Guild Studios were located in Orange City about an hour and a half east-southeast of Ocala. I’ve heard clips of both thanks to Jameson Sweiger, who took the photos of the acetates seen here and gave me some background on them.
The acetates came from Larry Montague, who produced Billy’s single on Viking.
Jameson wrote: “Larry had a full album from the sessions of these 45s that was to be released but shelved after his death and never released. Larry had the original reel to reels when I met him. Sandlin apparently was in movies or working on movies at the time of these 45s.”
Sandlin next joined with Barry Winslow of the Royal Guardsmen for a single on Mega, “Have You Seen a Rainbow Lately” / “Peace Time” that got a good mention in Billboard in November, 1971.
Billy Sandlin also recorded two songs I haven’t heard, “Turn Me On” / “Country In The City” that exist on a Capitol custom 8″ demo, I’m not sure of the year.
Tragically, Billy and his wife Melinda were killed when their car was hit by a drunk driver fleeing the police in Ocala in February, 1973.
Billy Sandlin discography:
Vim Records 1006 – Billy Sandlin – “She’s Mean” (Sandlin, pub. by ThreeWay BMI) / “Don’t Let Me Down” (1959)
Gala Records 45-110 – Billy Sandlin – “She’s Mean” / “Don’t Let Me Down” (1959)
Gala Records 45-115 – Billy Sandlin – “Teenager’s Dream”/ “Cha Cha Bop” (Sandlin) (1960)
Strike Records S-103/4 – Billy Sandlin with the Strangers and the Bluetones – “My Little Twisting Baby” (Sandlin) / Billy Sandlin and the Strangers – “My Little Star” (P4KM-5346), recorded in Germany with a group also known as the King-Beats, but issued in the U.S. circa 1963.
Viking Records 1001/2 – Billy Sandlin and the Embers – “You’ll Always Have Someone” / “I Kept on Walking” (Sandlin, pub. by Montague Music), produced by Larry E. Montague
Royale 1966.326 – Billy Sandlin with the Interns – “Poor Rich Girl” / “Here Comes That Feeling” (1966) prod. by Jack McGowan
Royala 1966.329 – Billy Sandlin with the Interns Orchestra – “I Kept On Walking” / “Sweet Loving” (sung by Ace Perryman), 1966
Mega 615-0044 – Winslow & Sandlin – “Have You Seen a Rainbow Lately” (Barry Winslow-Barry Sandlin) / same (1971)
Unreleased demos:
Sounds of Sandlin – “Come on Up to My World” / “Sunshine” (National Guild Recording Studios demo, late ’60s) Sounds of Sandlin – “Dream Train Ride” / “I Need You Girl” (National Guild Recording Studios demo, late ’60s) Billy Sandlin – “Turn Me On” / “Country In The City” (Capitol Custom 8″ acetate disc, date unknown)
I mentioned the Xanadus when I wrote about Angelus Records, a label for Christian music based out of Lorin Whitney’s studio in Glendale. The Xanadus first single was on Angelus, even though it was not a religious record. On hearing their second single recently, I decided the Xanadus deserve their own entry.
Their first single, “Before the Dawn” features a basic ensemble of lightly-amplified guitars, tambourine and harmony singing. “Little Girl” is a ballad, even more low-key than the A-side. Both songs are on youtube but not in great sound quality. It came out on Angelus WR-4442, and then the band reissued it on their own Encore label with the same catalog # 4442.
There are only a few instrumental or pop releases on Angelus. The Xanadus single is more pop in style and subject matter, but it’s so light and innocuous it doesn’t clash with the typical Angelus subject matter.
However, there’s no way Angelus would allow the band to use the label for their second 45, the salacious and amazing “You Turn Me On” / “Bankrupt Bothered & Bewildered”, released on Encore 4443. These are sharp, cutting rockers, with good guitar breaks. “Bankrupt Bothered & Bewildered” sounds like it was recorded live, shouting and hooting in the background.
Photos in the videos are different bands.
Angelus WR-4442 – “Before the Dawn” (Boyd & Adams) / “Little Girl” (Wray) produced by J & R Productions Encore 4442 – Xanadus – “Before the Dawn” (Boyd & Adams) / “Little Girl” (Wray) (WR-4442-45) released Feb. 1965 Encore 4443 – “You Turn Me On” / “Bankrupt, Bothered & Bewildered” released April 1965
Both Encore releases have publishing by Shat-Shep Music BMI.
At this time I know nothing about the band.
The Shat-Shep Music credit shows up on at least a couple other singles of the period. One is Gail Da Corsi – “I’ve Lost In Life” / “Touch Of Yesterday” on Dolton 314. The other is the Universals “I’m In Love” / “A Love Only You Can Give” on Shepherd SR 2200, a doo-wop style 45 from 1962.
Another Shepherd release, though without the Shat-Shep credit is Ritchie Marsh “They Say” (Pat Vegas, R. Marsh, pub. by Debutante Music) / “Darling I Swear That It’s True” on Shepherd SR-2203. Ritchie Marsh is better known as Sky Saxon.
The Shepherd label came out of Hollywood.
Thank you to Dan Peterson for the scan of the Angelus 45. If you have better scans of the second Encore single, please contact me.
The Chimes of Freedom came from Scotia, New York, near Schenectady and Albany. “Jungle Rock” is known from Girls in the Garage, but the Dead Wax blog shows this was not an all-girl group: Mari Salato vocals, Chip Vedder vocals, Bill Pytlovany lead guitar, Paul Hamilton rhythm guitar, Jeff Austin bass guitar, and Darrell Francis drums.
Hamilton, Francis and Pytlovany wrote “Jungle Rock”, while the original A-side was “Did You Ever”, a ballad by Francis and Pytlovany.
This is a hard single to date, I don’t see anything in the dead wax other than stamped 102A/B, and the label code USS 102 is also obscure. The Robert Barry Music credit helps connect this to the Vibra-Sound Recording Studio in Schenectady.
The Epics came from Brookhaven High School in Columbus, Ohio. Warren Knox, Jim Miller and Michael Richards wrote the great A-side, “White Collar House” which refers to some kind of upscale nightspot, whether a dance club or bordello I can’t decide as the lyrics are vague. The band’s performance is a stand-out, and Musicol Recording Studio did a good job recording it.
Library of Congress records show copyright registered on May 1966 to Warren Knox, James Miller, and Mike Richards (Michael Kirk Richards). The band was a quintet but I don’t know who the other two members were.
Michael Richards wrote the gloomier b-side, “She Believe In Me”, and also arranged both sides. S. Graves produced the session.
It’s the only release I know of on the Dolphin label, which Buckeye Beat suggests was tied in with the Blue Dolphin Club for teens. There is a rare picture sleeve which I don’t own that shows the photo at the top, with a blank back.
Andy And The Classics Kama PS Utica, New York had a number of independent labels in the 1960s. At first I believed labels such as Kama, Krishna, Lewis and Aegis were related, but after a comment and more investigation, I’ve decided to cover a number of Utica labels that shared artists, distribution by Kama, or use of the Chadwicks Recording Studio.
Kenneth Hurd, a New Hartford shoe executive, owned the Hurd and Revere Records labels, as well as the Longmark Studio in Utica and the Chadwicks Recording Studio and pressing plant on Oneida St. in Chadwicks.
Any help with information about any of these labels would be appreciated!
Aegis Records
Aegis 1001 – The Bel Airs – “You Left Me (For Somebody New)” / “You’re the Greatest” (Aegis Records ARS 1001). Gates Initino, vocal. Other members were Guy Vivenzo, Dick Laurey, Jim Hanna and Jon Hynes). Distributed by Bason Agency, Utica.
Aegis 1003 – The Royals – “Shake It” / “Mix Up” (both written by Fran Migliaccio), W-194
Aegis 100? – The Royals feat Ralph Migliaccio “I Only Have Eyes For You/ Land Of A Thousand Dances”
Buddha Records
Buddha CO 1753 – The Roosters – “I Wanna Do It” / “You Don’t Need Any Reason”
Hurd 77 – Patti Miller & the Friends Trio – “Caveman Blues” / “Stone Age” (with PS) Hurd 78 – Andy and the Classics – “Walk Walk Walk” / “Wilma” – band led by Andy Cittadino Hurd 79 – Dee Dee Warwick – “I Can’t Go Back” / “I (Who Have Nothing At All)” (1966, prod. by H. Rudd and Bob Gallo)
Kama K-43 – The Ultimates “Lost Romance” (Foti-O’Donnell) / “Foreign Girl” (Dick Broderick – both songs Harbor Music ASCAP), unrelated label?).
Kama 501 – Gary Angel And The Halos – “Oh, Judy” / “Memories Of A Summer Day” (circa 1962) Kama 502 – Maureen Fitzgerald – “Twinkle In His Eye” / “His Own Kind of Rhythm” (division of Kama Productions)
Kama L-106 – Ted Alexander and The Cordels – “Baby You Can Drive My Car” / “Please Go” (with picture sleeve)
Kama L-164 – Heaven’s Devils – “Lonely Girl” (Paul Sparaco) / “Out Of Your Life” (Frederick J. Catella), prod. by Gary J. Sparaco, Kama Music
Kama L-212 – Jerry Carr and the Travelers – “I Laugh When I Should Have Been Listenin’” / “Wondering If I Could Go On”
Kama L-269 – Susie Southworth – “My Heart Could Never Stand (to Be Broken by You)” (Dorothy Southworth) / “Once a Day”
Kama K-712 – JC and the Tears – “Then You’d Better Go Away” (J. Camilli, copyrighted as Jimmy Camilli in 1953) / “What’d I Say” (OV-102)
Kama 775 – Heavenly Flyers – “Mighty Long Time” / “Hallelujah to His Name” (W-167/W168) Kama 776 – Lou Barile (John Mazzae At The Organ) – “He’ll Look Down” / “Prayer” Kama 777 – Eric and the Chessmen – “You Don’t Want My Loving” / “Blue Skies”, L-99-1/2. The labels note “Recorded at Chadwicks Recording Studio”, in Chadwicks, NY, a small hamlet along Route 8 south of Utica, and a few miles east of Clinton, NY and Hamilton College.
Kama 780 – The Ally Kahns – “Gonkletwerp” (instrumental by Gary Brody, Dick Kenney and Charlie Caryl) / “Blue Moon” (W-321)
Kama K-780 – The Avengers – “Reflection” (C. Wheeler) / “Irresistable You” from April of 1967, also recorded at Chadwicks and produced by A. Polacelli.
Kama 786 – Andy & the Classics – “Yaba-da-ba-do” / “Prehistoric Time” (with PS, prod. by Bob Gallo)
Kama 1070 – Audrey De Lia and the Western Aces cut “Kansas City” b/w a version of Loretta Lynn’s “You Ain’t Woman Enough”
Kama 814 – Target – “Give Me One More Chance” / “Cleveland” (modern soul, early 1970s) Kama 815 – Target – “Look at Me” / “You’re So Beautiful”
Kama OV-567 – Tiny Tim – “Howard Cosell (We Think You’re Swell)” / “The Bi-Centennial Song (I Believe in America)” – 1976
Kama 71310 – Sonja Bonness “I’m the Only Woman” / “Black Satin” (1977)
Krishna Records
Krishna TR 2690 – The Roosters – “The Rooster Song” / “Lost And Found”
Lewis Records
Lewis Records 525 – The Starfires “Vampire” (by James Palladino for Kajobe Music, BMI) / “Honky Tonk Twist”, mastering #s W-189 & W-190. The labels read “distributed by Kama Productions, Utica, NY.” “Vampire” also recorded by the Plaids on Stentor – see below.
Lewis 1000 – The Ponzi Bros. Lou & Zack – “Guitar Boogie Twist” / “Channel 98” (Lou Ponzi, Kama Music BMI) (K-71/72) Lewis 107 – The Belairs – “All The Time” (Chuck Weiss, Eddie Mikenas) / “As You Go” (Eddie Mikenas), Kev-Tess Music BMI
Mark Records – extensive discography, see entry on Discogs for more info
Tino & the Revlons – “Black Burma-Mudas and Knee Socks” (R. Demart, B. Rezey; Kama Music Publ.) / “Story Of Our Love” (Mark M-154) The Plaids – “Out To Lunch” (Carl Swanson aka: Mr. Sunshine) / ?, circa 1961 – need label scans for this one.
Stentor Records
Stentor RR 101 – The Plaids (aka the Bel Airs) – “Vampire” / “Creepin'” (Vivenzo) from Stentor Recording Co., Utica. Stentor RB-165 – Brian Wilson & the Del Vues “Blue Skies” / “Blueberry Hill” Stentor RM 101 – Bebo Singleton with Jeff & the Notes “The Shrine of the Echoes” / “Feeny Jones”
The Chancellors came from Oil City, Louisiana, about 30 miles from Shreveport along Caddo Lake.
Members of the band were:
John “Rusty” Shafer – guitar Howard Lee – guitar Mike Dunahoo – bass Tommy Valliera – drums
According to the liner notes of Big Beat release Don’t Be Bad, Rusty Shafer and Howard Lee were part of a folk quartet called the New River Four at Northwestern State University in Natchitoches, Louisiana. Lee and Shafer found a rhythm section in Mike Dunahoo and Tommy Valliera, and renamed the group the Chancellors.
They drove over four hours to cut two 45s at Recording Service Studios, Inc., 227 E. Sterling, Pasadena, releasing them on the Caddo label in 1965. The first was “It’s Too Late” / “Can It Be Love” (Caddo 101, LH-2023/4), followed by “Don’t Tell Me” / “I Don’t Know Where I’m Going” in November, 1965, (Caddo 102, LH-2055/6).
“Don’t Tell Me” is available on the CDDon’t Be Bad, 60s Punk Recorded in Texas. I like “It’s Too Late” from the first single:
All songs were originals by Rusty Shafer and Howard Lee, published by Crazy Cajun BMI. Shafer and Lee registered five more songs with the Library of Congress that year, including “Gone Away, Lost in Sorrow”, “Impossible Dream”, “The Love We Share”, “Never, Never Say You Love Me”, “Tired of Laughing”. I don’t know if they recorded any of those songs.
The Vibra-Sound Recording Studio and label started in Schenectady or Rotterdam, New York circa late 1966. I’m not sure where exactly the studio was, but New York State business records list a residential address on Crestwood Drive in Rotterdam for Vibra-Sound, and also include a later starting date in 1969, with the business closing in 1992. However, several of the singles listed here such as the Heathens and Delirium are earlier, from sometime in 1967.
Nate Schwartz appears as engineer and also as a representative of the label in an local news item from the early ’70s. Initially the studio was located in Schwartz’s garage, with the control room in the basement without a window between.
Vibra-Sound had its own Vibra label, plus variations like Vibra-Sound, VSS, and others that were customized for the artist. Later productions often share publishing by Robert Barry Music BMI.
Below is a general discography in approximate chronological order of records made at Vibra-Sound / Vibrasound, with my comments.
Any additions or corrections would be appreciated, as well as info on any of the artists listed here.
45s:
Vibra L-103 – Elaine Brooks & the Pushers (Albany/Schenectady) “I’m So Blue” (Brooks) / The Pushers – “The New Thang” (C. Nelson) both published by Kama BMI “The New Thang” is a cool instrumental with saxophone, tambourine and plenty of echo. I’m surprised to see what must be some connection to Kama Productions of Utica, NY in the publishing company (see the end of my article on the Roosters for more info on Kama and related productions).
Vibra L-104 – The Heathens (Schenectady, NY) – “The Other Way Around” / “Problems” (both written by Michael Dellario, arranged by Hooker-Stahl, Petticrew, Sheer & Marquez) Maybe the most well-known garage single of the NY capitol region.
45 scan from the unparalleled collection of Bosshoss
Vibra L-136 – Delirium (Mechanicville, NY) “I Need Your Lovin'” / “Never Comin’ Home” (both songs by T. Sullivan, Wall Music BMI) A very rare single, and musically as good as the Heathens. If anyone has info on this band please contact me.
Vibra L-137 – The Dimensions (Latham, NY) – “The Pilot” / “Dimension Beat” (both by Federici, Federici, Olson and Speciale for Wall Music, BMI) Another fine garage single, According to copyright records from February, 1967, The Dimensions were Martin Federici, Arthur Federici, Dominick Speciale and David Olson. I’ve also found a new clip from 1965 verifying the members of the group.
Vibra Sound 423702 – Sound with Brass – “Shine Down on Me” / “Lollypops and Roses / Wall St. Rag”
Vibra-Sound 121969 – The Changing Times – “Free As The Wind” / “We Gotta Get Out Of This Place” 1969 Good versions of both songs, the capitol region being one of the few places where the Myddle Class had extensive radio play. Label credits for “Free As the Wind” give S. Trimochi, S. Lane in error, as the original song was a collaboration between Gerry Goffin & Carole King, and Rick Philp & Dave Palmer of the Myddle Class.
The Changing Times were from Mohonasen High School, Rotterdam, NY, with members Kurt Eastman, Mark Eastman, Gary Esposito, Bob Launders. and David Cilberti on vocals (thank you to David for his comment below)
USS 102 – The Chimes of Freedom (Scotia, NY) – “Did You Ever” / “Jungle Rock” (Hamilton, Francis, Pytlovany) For more info on the Chimes of Freedom see my post on the group.
unreleased demo – The Concepts (Ravena,NY) – “Faces Come, Feelings Go” 1968. Presumably from an acetate, this track is on the Garage Beat ’66 vol. 2 CD
Hemlock VSS-2/09 – Art Anderson and the Anderson Family – “Don’t Come Knockin’ At My Door” / “I’ve Been Searchin’ in My Dreams” (both by A. Anderson, Robert Barry Music, BMI, ZTSP 140404, 1968)
Knight Records KN-1 – Marshall Hanson and the Hamps – “Dark Clouds” / “Waiting for My Love” (1966, State Music Productions, ZTSC122592/3)
Governor VSS-910 – Bob “Rebel” King and the Knights of Music – “Suspicious Illusions” (R. King) / “For the Good Times”
Al Knight Records VSS 2704 – Al Knight ”Dreaming Dreams of Yesterday”
Zep Records KN-4 Tim Ryan ”Angels in the Front Row”
Scan courtesy of Brian KirschenbaumW.S. Highway 2710 – West Side Highway – “Spring Song” (J. Hochanadel) / “I’ve Got a Way” (D. Vroman) (both Robert Berry Music, BMI, Vibra-Sound 2710, ZTSP 140682/3)
Cobb 81935 – The Universal Set – “Ballad For Linda” / “Memphis Express” (both by E. Locke, Robert Barry Music, ZTSP 144640/1)
Hemlock 81946 – Cathy Lee, Anderson Family – “The Dark Side of the World” / “Our Side” (ZTSP 144893, Vibra-Sound 81946)
Kandy 101 – The Essentials – “Baby You Get to Me” (S. Wheeler) / “Oklahoma Blues” (F. Stay, S. Wheeler) both Robert Barry Music BMI, 1969
Kandy 82042 – The Essentials – “Sunshine Baby” / “Freedom” (both by Squeeky Stay for Robert Barry Music BMI, Vibra-Sound 82042, ZTSP-221980, 1970)
JC 82017 – 2nd Foundation – “Wipe Out” / “I Am The One” (D. Spensley, Robert Barry Music) (ZTSP 221697/8) – instrumentals produced by Johnny Cefala
Katy VSS 2705 Dusty Atcher and River Valley Boys – ”Right, But I Think It’s Wrong”
Little Records VSS-82043, Jimmy Lane and the Incredible 5 – “Deal With It” (J. Lane) / “What Kind of Man” (S. Brooks, J. Wortham) (both Robert Barry Music, BMI, A Little-Mickens Production, ZTSP 222378, Vibra-Sound 82043)
“Wild Smoke” is an excellent 70s rock songBrothers Two 6023-13 – The Lightning Brothers – “Crazy Jane” (W. Braemer, S. Hansen, M Ilnicki, P Ilnicki) / “Wild Smoke” (W. Braemer, P Ilnicki) (both Robert Baby Music, an Albert Perrone Production, pressed by Queen City Album in Cincinnati)
Jinhea DC-100 – Squeeky Stay and Mark Galeo – “Slippin’ Away” / “Mrs. Jones”, early 1970s
Rambler 2712 – Jerry Madore and the New Prairie Ramblers – “Wishing” / “Blue Blue Eyes”
EROS Records VSS 1239 – The Ridgerunners – “Stop, Look and Listen” / “King and I” (Robert Barry Music, produced by Watrobski Enterprises Broadalbin, NY 1973)
CMS 5105-40 – Billy D. Hunter, the Country Joe Revue “My Heart’s Still Doin’ Time” / “Old Five & Dimers” A Conway-Murray Production
476-45P – Bunz Rock Show – “Doctor Rock & Roll” / “Raw Power” (both by S. Atwood, C. Cirrone, B. Deitz, R. Hull, 1976)
Neon Records 6084-24 – Skip Johnsen – “My Friend John” / “I Like You” (1976)
Sit’ n Bull 6072-31 – Night Conference – “I Can’t Give You Anything (But My Love)” / “Kansas City” (1976)
Alan 7054-25A – Alan Burn “Unless You’re Born Again” / “Jesus the Healer” with James Caulfield (backup vocal), and musicians Ernie Burnell, Joe Latorra and Mark Carnival
Jerry Rivera and the Generations released this single on the Kim Records label, probably in the early 1970s.
“Baby Be Mine” was supposed to be the A-side, it starts with a recitation and moves into an easy-listening ballad.
I’m more taken with the flip, “Lovin’ Man” which starts quietly and gets a good psychedelic groove going, but refrains from cutting loose. In nearly four and a half minutes, we get several repetitions of the chorus, a long undistorted guitar solo and some overdubbed trumpet, and I did like how the lyric “let me ease your mind” sounds like “let me eat your mind”!
Both songs are originals published by Help Me Music BMI, and recorded at Triple “A” Studios, on Walnut Street in South Amboy, New Jersey with Marty Ruszala as the engineer.
The release on Kim Records 20605 included the cool picture sleeve with notes on the back (“LOVIN’ MAN also projects a meaning but of a different nature”). The runout on this single is etched ARP-2097/8, I’m not sure the plant, but it would not be American Record Pressing Co. in Owosso, Michigan.
Max Waller informs me of another single by Jerry Rivera, “Fortunata” / “This World” on Kim ULT 70011 from about 1970, which indicates “written by Gerald D. Rivera” on the label. Neither of us has heard this single.
This is not the same Kim Records who released an excellent Night Crawlers sounding single by Ron Starr (aka Ron & the Starfires) with the Chuck Conlon penned “Crawl Into My Shoulder” in 1967.
This site is a work in progress on 1960s garage rock bands. All entries can be updated, corrected and expanded. If you have information on a band featured here, please let me know and I will update the site and credit you accordingly.
I am dedicated to making this site a center for research about '60s music scenes. Please consider donating archival materials such as photos, records, news clippings, scrapbooks or other material from the '60s. Please contact me at rchrisbishop@gmail.com if you can loan or donate original materials
