A band I know almost nothing about, I hear the Tyrannies were from Abita Springs, Louisiana.
Fine guitar with a melancholy vocal delivery, this 45 was released in June 1965 on the Watch label. Songwriting credits for “She’s a Queen” and the flip, “Little Girl” go to Hall and Bond.
Shawkey Se’au and the Muffins are thought to be from Rhode Island.
They wail away on the crude and repetitive “Just One More Time”, released on the Planet label. The flip is a dense weeper by John Broughton and the Muffins called “Walk Alone”.
Publishing by Planet Studios’ company Ranford Music.
The Quadrangle were a New York group, and this is their only 45, released in October of 1966.
“She’s Too Familiar” now is a classic garage song. Every element is striking: the keyboard intro, the bass line and drums, the sharp guitar parts and the fantastic vocal, with a tambourine-led chorus that brings it all together.
The b-side, “No More Time” combines a New Orleans type beat with a bit of Donovan’s Mellow Yellow vocal delivery.
I had thought they were only a studio group until I found a mention in the April 30, 1966 issue of Billboard that states “Ray West’s group the Quadrangle closed at Arthur last week and will now record under the supervision of Artie Kornfeld.” Artie Kornfeld did produce them, using the songwriting team of Michael Konstan and Jay Fishman.
Kornfeld had a lot of experience writing classic songs as half of the Changin’ Times with Steve Duboff. Their original versions of “Pied Piper” and “How Is the Air Up There” were covered with more success by other bands. Kornfeld went on to work with many other acts as producer. Michael Konstan released a solo lp on RCA in ’73. I’d like to know more about the other members of Quadrangle, though.
The Los Angeles-based Plamie label released a handful of 45s in 1967-68. At least two of the bands on the label, Uncle Ben and the Wild Rice and Weathervane, were based in Santa Cruz, which makes these Plamie 45s important documents of the music scene along the California coast north of LA and south of the Bay Area.
Jason Sweitzer suggested we write about the Plamie label to compliment the previous article about other Santa Cruz-based bands the Cobras, Talon Wedge and Snail. Jason conducted the interviews with Ben Hudson and Steffen Presley, and wrote the text for the sections on Weathervane and Strange Laughter. Gray Newell provided some of the scans and transfers from original 45s.
Uncle Ben and the Wild Rice
Uncle Ben and the Wild Rice were Ben Hudson guitar and vocals, his sister Sharron Bassano on vocals and organ, Mike Gordon bass, Willie Wahler guitar and vocals, and Tony Hill on drums. They played at the Grass Cookie in Santa Cruz, among other venues.
Jason spoke to Ben:
We were local to Santa Cruz, California in the 60’s. We played at the Boardwalk’s “Coconut Grove” frequently in the 66-68 years. We also played all of the area venues of the time [including the Grass Cookie]. I recall opening for Country Joe and the Fish in an airplane hangar in Watsonville and bumping into the Jefferson Airplane folks at the Coconut Grove.
We were just kids having a blast. I imagine the record doesn’t sound too hip, it was a Christmas release and didn’t really reflect the Rock ‘n Roll of our stage shows. The band members are still around the area, mostly retired. I started a new solo CD recently and still write and play a few gigs. We recorded a couple other songs at those early sessions, but nothing else was released to my knowledge until the reunion CD in 2003.
“A Tale Told” is their first 45, one side featuring lead vocals by Sharron, the other Uncle Ben. With the dreamy quality to the vocals and keyboards you may not notice the lyrics are about Jesus! It’s also the first single on Plamie, P-1021, with publishing by J&J Music and Bound Music, distributed by Commerce Record Corp.
Their second 45 leaves the folky sound of “A Tale Told” for a tougher, bluesy approach. “Sinner” features Ben’s bracing vocal and a sharp guitar solo. Sharron’s “Holdin Blues” is a wonderful song reminiscent of the Charlatans, with interesting guitar work and a great rave-up at the end.
There is a third single by Uncle Ben and the Wild Rice, but Plamie P-1027 seems to be a re-release of “Holdin’ Blues” backed with “Zindar” which is a version of “Sinner” but sung in German (I think)!
The photos are from B. Robert Hudson’s (Uncle Ben) site [http://ubwr.broberthudson.com/ but defunct when I checked in 2016] with more cool pics of the band and info on his recent live shows. Their reunions in 2002-3 included all members but Sharron.
Hot Coffee
Until Mark Tranchina commented below in August, 2018, the only names we could associate with them were Linden Coffee, the leader of the group, and Dave Holt, writer of “Cheatin On Me”. This David Holt also wrote songs with Baker Knight, longtime singer and songwriter (garage fans may know him for “Hallucinations” on Reprise). However, I don’t know if he had any connection with the band at all.
I’ll reproduce some of Mark’s comment here:
Besides Linden Coffee, the other members were George LaFrance drums, Ray Rackstraw bass, and my brother Richard “Dick” Tranchina who played rhythm guitar, 12 string and occasionally bass and drums. They had regular gigs at Mission Ranch in Monterey and the Coconut Grove in Santa Cruz. During the “draft” days in the late 60’s they all enlisted in the national guard and spent a good time of their enlisted time playing at the officers club at Fort Ord in Monterey. They also opened for the Righteous Brothers in Disneyland in LA.
Richard Tranchina passed away in 2004.
Ben Hudson told Gray Newell, “We went to LA to record on a joint trip with Hot Coffee, because we had the same manager, Ben Lawson, a DJ on a local radio station at the time, KDON from Salinas, CA.”
There’s a good possibility that this is the same band listed as Coffee on the poster for the Santa Cruz Blues Rock Festival at San Lorenzo Park. The other acts listed on the poster are Jaguars, Snail, Stained Glass, Moses February, Bogus Thunder, the John Deacon Society, Tender Gender, Sabbathe Office, and Aunt Millie’s Blues.
Weathervane
From Modesto, California, The Weathervane only released this 45 on Plamie Records in 1968 — a euphoric, if not lyrically sardonic, slice of psychedelia.
Formed in 1966, the original group comprised of teens Steffen Presley on organ and lead vocals, Kevin Beamish on lead guitar, Ed Bowman on bass, and Mike O’Bryan on drums and lead vocals. Bob Wilson was an itinerant member on bass, rhythm guitar and lead vocals, having left the band for a time and then returned.
As a popular mainstay at the under-21 hangouts and nightclubs of the Central Valley, The Weathervane also performed regularly in Sonora and the San Francisco Bay Area, sharing bills with The Golliwogs, Sir Douglas Quintet, The Ratz, The Eisage, Mourning Edition, Meat and Cheese, Homegrown, and the all-girl outfit, Sometimes, among others.
During the summer of 1967, at the arrangement of their manager Gene Bastion, they temporarily relocated to Ben Lomond, in the Santa Cruz Mountains, and performed at various venues along the coast. Of this time, Steffen Presley remembers:
Gene was a radio DJ who went under various aliases. In Modesto, he was known as Jerry Lang. We stayed in a big cabin in Ben Lomond, which was owned by a friend of his and they only used it part of the year. The idea was to gain us greater exposure. It was a great fun time!
Soon after returning from Santa Cruz, Bastion was able to negotiate a recording deal for the band with Plamie Records in Los Angeles. Presley, who wrote both original songs, recalls:
I was 17 at the time of the Plamie sessions. Although I did the lead vocal on “4-4, 5-4,” it was Mike O’Bryan doing the lead vocal on “My Original Blue Jeans.”
One of the things the producer did was to change the key of “My Original Blue Jeans,” which I felt was detrimental to Mike’s vocal, particularly as he was very used to the original key from live performances. Fortunately, “4-4, 5-4” was left fully intact and basically represented our true sound, sans the poor mix, where the vocal is fairly buried for the first half of the song.
My Vox Continental organ was a signature part of our sound, as you may have noticed. At that time, there was next to nothing available in portable keyboards, and I had no money to buy anything else. I did play piano at that time but was not interested in electric pianos, which barely existed, anyway. Of course moving real pianos around was not even a consideration. The studio had a Hammond organ, which I used on “My Original Blue Jeans.” I had actually written the song on piano. I don’t think the studio had a piano or I may have used it.
There had been talk of recording an album, but despite significant airplay the 45 was a complete dud in Modesto upon its release. We were even ridiculed by some. I could understand that, as the producer had completely changed (ruined- in not just my opinion) our sound on “My Original Blue Jeans,” and even back then I thought that the recording quality was quite poor. This is one reason why I later became a producer with my own studio.
Strange Laughter
About a year after the Plamie release, the Weathervane split up over artistic and personnel conflicts. Soon thereafter, Steffen Presley formed a new band, Strange Laughter. When asked how The Weathervane transformed into Strange Laughter, Presley wrote:
Well, this is the most interesting question to me! As the Weathervane matured musically, Tom Aragon eventually replaced Kevin Beamish on guitar. The beginning of the split came about as Tom and I wanted to pursue all original material. The other members preferred that we did mostly cover tunes. Very soon thereafter, Tom and I decided to form a new (all original) band, which became Strange Laughter.
Beside myself on organ and lead vocals, Tom Aragon was the bass player. The guitarist, David Rose, is to this day the best guitarist I’ve ever heard, and was also a superb songwriter. The fourth member was an amazing drummer and lifelong friend of mine, Kimber Glendening.
Strange Laughter was a far better band musically and artistically than The Weathervane, in my opinion, and became even more popular than The Weathervane in the Modesto area. I would describe our music as “progressive rock”, but this was at least a couple of years before the Prog-rock movement, so we were ahead of our time, for sure.
Unfortunately, the band was able to last only one year. Just as we were starting to get offers to go on significant bills, we split up due to conflicting interests. I think that it’s a crime that no recordings were ever made.
I’d like to thank Steffen Presley for taking the time to write and for sharing his pictures and recollections. For more info on his recent work, visit www.song-haven.com.
Strange Laughter updates:
Sept. 2008: Steffen writes, “I have just released a new album, along with the first of two video releases. The band is called “3 Legs On Wheels” and the album titled “in Our Time Machine” on Terraform Records. All the info can be found on the official web-site: www.3legsonwheels.com.
Feb. 2009:
My dear friend, Kimber Glendening passed away on January 18, 2009. As the best drummer California’s Central Valley has seen for the last 50 years (at least), he was a major factor in the still legendary (in that small part of the world) “Strange Laughter” sound. He played in many other bands in the Modesto area throughout his life. A memorial was held in his honor on February 8th at the Eagle Lodge in Modesto, California. The event was attended by several hundred people, including myself. There were many people there that I hadn’t seen for forty years! Teaming with remaining members from Strange Laughter, we played a tribute set in Kimber’s honor. Different combinations of musicians jammed into the night with myself sitting in with most of them on keys and sax.
Steffen Presley
Plamie Records P-1023 and P-1025 are still unknown, if anyone has copies of these please contact us.
“I Need Love” was a song written by Tom Curley, vocalist with the Maryland group the Mad Hatters. The Mad Hatters cut the original version in late ’65. The Time Stoppers version wasn’t released until 1967. I’ve heard it called ordinary, but I’ve always liked it very much.
The band were probably from Pittsburgh, but I don’t know who was in the group. Jules Kruspir, publisher and co-producer of this disc, owned St. Clair records, which released great records by the Swamp Rats and Pat Wallace. The flip is a forgettable instrumental, “Fickle Frog”.
This also appears to be about the last record ever released on the eclectic HBR (Hanna-Barbera Records) label.
An unknown band from California, here they cover Them’s “Little Girl” retitling it “Pretty Girl”, with the singer substituting a head cold for Van Morrison’s soulfulness. Good shot anyway, backed with an unsuccessful cover of “Heatwave”.
This was the third release on the Two + Two label, it was preceded by The Menn “A One Way Deal” (Kenneth Johnson) / “Ian Fleming Theme” (Two + Two 101, produced by Gary Paxton for Limelight Music, BMI) and the Emperor’s “You Make Me Feel So Good”/ “Love Pill” (Two + Two 102).
One source gives the names of the Menn as Don Bagby (lead guitar), John Barnett (drums), Marvin Hale (lead vocals), Don Gray (rhythm guitar) and Fred Vanderheide (bass). Another stray sentence online lists Reynold Bagby as the owner of the Two + Two label, so maybe Donald Bagby of the Menn was his son.
A real obscurity here. I’m not sure where the band was from, but the label was based in Commerce, Texas, about 60 miles northeast of Dallas.
“All Is Gone” is a monster of a song, with a spooky organ sound and unrelenting snare beat. The loud mastering leads to some distortion in the 45. The songwriting credits go to Humphrey – Bates, who I suppose were band members.
For the A-side they went with a safer bet, a good cover of “Big Boy Pete”. The Olympics had the big hit with this song, but judging from the Shade’s arrangement I think they probably picked this up from Paul Revere and the Raiders first album.
Their producer was Mike Stanglin, who told me, “My family owned the Twilight Skating Rink in Pleasant Grove section of Dallas. The Shade was a very good band that played there for the “sock hops” that I was in charge of. Roy Clark was the lead singer, who later called himself Royce Clark to keep from being confused with Roy Clark the country singer. I went to college at East Texas State University in Commerce, TX, hence the Commerce address.”
The Shade 45 was recorded at Sumet Studio (the first one) in Dallas. Mike had produced a couple other 45s prior to this, and continued releasing records on Twilight into the late 70’s, including a rap single by FBI…Fresh Brothers International. As for the Shade, they seem to have disappeared.
Not garage, Lil’ Henry and his Soul Express is a Texas soul/funk act that I’m posting because I can’t find any information about this record anywhere.
“Baby” repeats the same couple of themes for its two and a half minutes, but does so with soulful energy. The flip side is a more laid-back piece called “Girls”. Both songs are credited to H. Gentry, so his name may be Henry Gentry.
The Ride label was located in both Dallas and out in L.A. at some point, and may have been one of Mel Alexander’s labels. The publisher, Little “m” Music is a Dallas company, and that’s all I can tell you about this.
There’s also a Little Henry and the Laveers 45 covering “Georgia on My Mind” and Jesse Hill’s “Whip It On Me”, on the Laveer label out of San Antonio. As you can see from the comments below, most agree that Henry Parilla, aka Little Henry Lee is not the same person as Lil Henry from the Ride 45. It sounds like a different singer to my ears.
The Jolly Green Giants are THE great Pacific Northwest band whose story remains unknown.
They took their band name from the Kingsmen’s hit. They had only one record but both sides are monsters! It was originally released on the Redcoat label, but maybe because the Green Giant company objected, it was re-released on Result with the band name changed to the J.G. Giants.
“Caught You Red Handed” is up there with the Sonics for heaviness. It was written by C. Anderson, and D. Cole, though on the Redcoat label only Anderson is listed.
“Busy Body” was originally written and recorded by Roy Lee Johnson on the Okeh label in 1962, but the Jolly Green Giants probably picked their version up from Jimmy Hanna and the Dynamics, a popular Washington live act who released both studio and live versions of the song on the Bolo label in around 1965.
The Jolly Green Giants up the pace and energy level considerably on their version with clipped guitar and Hammond organ chords and a strong vocal performance. Locked into the drums during the verses, the bass guitar breaks into fantastic runs during the choruses. Maybe this is why their song publishing company is called Pulsation Music!
For some reason, the spoken intro common to all the previous versions (“Busy body one time y’all!”) is left off the Result 45.
The band also has an unissued acetate which I haven’t heard, “Up Above Their Knees”, that’s supposed to be good as well.
Here’s a possible lead from reader Steve Snell:
In the mid-late 60’s I used to play Hammond B-3 organ with a group called Chuck Anderson and the Jolly Green Giants at a club called Shapps in Pasadena. I know they played in Vegas sometime before I joined them. When I played with them we were simply a cover band – top forty stuff. We didn’t do any recording while I was with them. Is this that C. Anderson and that Jolly Green Giants? If so I would love to hear from someone.
I’d long read they were from Oregon but it turns out they were from Spokane, Washington, all the way to the east of the state near Idaho. The brother of the Jolly Green Giants lead singer is Bob Anderson, who commented and answered some of my questions about the Jolly Green Giants:
The lead singer of the Jolly Green Giants is my brother. Chuck Anderson. My brothers group started in Spokane. With Gary on drums; Dennis on keyboard; Harvey on sax; and Vick on bass.
I also played in a band based out of Spokane WA. The Madd Hatters. We had a record out for a while called “Little Girl In The 4th Row”. Written by Paul Revere. The other side was “Hey Girl” written by Chuck Anderson. We changed it a little.
My band the Foosteps changed the name the the Madd Hatters when we put out the 45. A lot of air time in the northwest but only sold a few thousand copies.
The 45 was produced by John Fisher, and released in January of 1967. A Cash Box article from January 7, 1967 notes the single was out and the band currently playing at the Haunted House. Fisher owned Redcoat Records, and also had ownership or interest in the Crusader, Park Ave, Current and Rally labels. According to Record World, Fisher had experience doing promotion in an area stretching from Seattle to Phoenix to Los Angeles and beyond.
That’s all I have for now, but I hope to get more answers soon.
Anyone have a photo of the group?
Thanks to Tage Weie for the Redcoat label scans.
The dense, echo-laden production and almost spoken vocals match this song’s dark, obsessive lyrics. A real obscurity, this Allied label also released “Mini-Skirt Blues” by the Flower Children.
“He Means So Much to Me” was written by Robert Bennett Bailey and Douglas Hunsaker. Hunsaker was in Starbuck and the Rainmakers (“I Who Have Nothing” / “Let Your Hair Hang Long” on Valiant in 1966), & Eddie Todd and the Rainmakers (“No Easy Way Down” / “Waiting For Wednesday” on Dot in 1969).
The flip side, “You Cheated”, is a version of the Slades 1958 hit, and the original A-side to the record. Sunday and the Menn released a similar arrangement of “You Cheated” in 1967 on the Sidewalk label; it’s possible Marilyn Mattson’s version slightly predates theirs.
This came with a picture sleeve (see comments below), and I’ve seen one scrawled with “Sioux Falls” (maybe she came from South Dakota?) and “”Scepter Wand just picked up” (except Scepter didn’t).
From photos in Nevada newspapers, it seems possible that Marilyn came from Sparks, Nevada, and married Donald Lee Jones in Reno in 1965.