Here’s an obscure Century Custom pressing by Chuck Edwards and the Apaches with a mix of garage and earlier rock styles that I like. “She Let Me Go” has gravelly vocals (credited to Tony and Eddie) over a great band that features good drum fills, a deep bass line and nice guitar work, plus a saxophone to tie it to the old styles.
The flip, “Lonely Apache” (written by Tony III) is a good, low-key instrumental. I don’t know any names other than what’s on the labels.
Released on Ludo Records 19796, I’m not sure of the date. The labels read “Recorded for Ludo Records by Century Custom Recording, Montgomery 6, Alabama 36106”.
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 Bed of Roses came out of the same Bay City, Michigan music scene as the Jayhawkers and Dick Rabbit. Like those artists, they recorded for Deltron Records.
In August, 1967, Deltron put out Bed of Roses’ first single, a cover of “I Don’t Believe You” (my copy has “ASCAP DYLAN” stamped on it) b/w a ragged raga-rock instrumental, “Hate” with no songwriting or production credits on the label.
I’ve read that in late ’67 the band moved to San Francisco for a short time, returning to tape a second single in a room above a record shop. However, “tea Records” is a Fenton custom label, so the band likely recorded the songs at Fenton’s Great Lakes Recording Studio.
The four-minute long “Quiet!” (written by F. Dash) was backed with “I Gotta Fight” (by J. Light), that starts out with a menacing feel, but the shouting chorus brings it out of that mood.
The single came out on tea Records 2577 in February 1968. I can find no list of band members. Copyright records show a F. Dash as a pseudonym of Fredrick Dashkovitz, the writer of a song called “My Feeling” published in November, 1968, however I don’t know if this is the same F. Dash.
The Luv Bandits’ “Mizzer-Bahd” was first revived on Pebbles vol. 14 over thirty years ago; the group is still unknown. “Mizzer-Bahd” is a great bit of psychedelia, laden with exotic-sounding guitar lines and the gloomy coming-down vocals that turn up on a few singles released about this time, January, 1967.
The flip is “Blues #2” which has the by-the-numbers sound you’d expect from the title, though the most prominent instrument is harmonica and the guitarist mostly hits some odd chords here and there.
S. Allen and J. Hannah wrote both songs, according to the BMI database these are Samuel Allen and James Hannah, but that database often mixes up names and initials and certainly seems to include song credits by more than one person with these names.
Parrot was a division of London Records and mainly released UK artists such as Them, the Zombies and Lulu, but also put out over a dozen singles recorded in the US, including this one. The release as Parrot 316 in January 1967 follows the great Yesterday’s Children’s “To Be or Not To Be” / “Baby I Want You”, released as Parrot 314 in December, 1966. Both singles share H. & L. Music Corp. BMI as publisher, and a similar quality of production, so possibly the Luv Bandits was a Hugo & Luigi Production like Yesterday’s Children, though a different writer, Edward Pivirotto, is listed as composer of the Yesterday’s Children songs. The only other act on Parrot that has Hugo & Luigi credits (that I know of) was Flip Cartridge with three singles on Parrot.
Parrot’s US artists usually came from either the upper Midwest or the West Coast, but Yesterday’s Children were from the towns of Cheshire and Prospect, Connecticut, and I would guess the Luv Bandits also were from the East Coast.
Both bands also had four-song EPs released in France that included two extra songs not released in the U.S. The Luv Bandits EP came out on Disc AZ EP 1100 with both sides of the single, plus two songs I haven’t heard yet, “The Land Of Ecstasy” and “Why Tell The World”. The Yesterday’s Children EP followed as Disc AZ EP 1101 and included “Love and Things” and “Dance All Night”. Unfortunately the Luv Bandits EP didn’t feature a cool band photo like the Yesterday’s Children.
Could they be the same band? There are similarities in approach, though the lead vocalists do not sound the same to my ears. Yesterday’s Children were Denis Croce, Richard Croce, Reggie Wright, Chuck Maher and Ralph Muscatelli.
The Lost Generation came from Baton Rouge, Louisiana and had one single on the Bofuz Enterprises label, “Let Me Out” / “They Tell Me” in 1966. Both sides are original songs.
“Let Me Out” has a great relaxed Stones feeling to it. Band members Michael Rhodes and Bob Keating wrote the song.
The flip is a different style, an echoing ballad that alternates harmonized verses with a mournful lead vocal. Mike Rhodes wrote this side.
John Herring sent in the photo above (courtesy of Pam Causey) and wrote to me about his career in music:
The personnel in the photo were the players on the Bofuz (Bonnie Fussel) record:
Bob Keating – lead vocals Mike Rhodes – lead vocals Ron Grassman – lead guitar Ronnie Easley – rhythm guitar John Herring – bass and vocals Ronnie Schilling – drums
Mike Rhodes went on to a career in broadcasting (radio & television) primarily doing Sports for WBRZ-TV in Baton Rouge.
I later played bass and sang in a three-piece power group, The Joint Effort with lead guitarist Jerry Heinberg (Souls of The Slain) and drummer Jimmy Rink, before joining Danny Cohen (Casey Kelly) from The Greek Fountains and Joe Miceli (A.J.’s older brother and the drummer for John Fred and The Playboys) in an L.A.- based group who recorded on A&M Records as The Luziana Band.
The Luziana Band also had guitarist/songwriters Jeffrey Comanor and Sammy Rubin (ye olde Inn Crowd) at different times.
Contrary what you may read elsewhere, this is not the same Lost Generation who had a single on Tear Drop 3195: “Baby!” (Allan Green, Gary Green) / “Night Time (Makes You Lonely)” in October 1968. That group came from the area around Freeport, Texas, including West Columbia, Clute and Lake Jackson. The members were Leonard ‘Beak’ Johnson (lead vocalist), Willie Funderburg (lead vocalist), Gary Greene (lead guitar), Larry Beal (organ), Mike Roberts (bass) and Pat O’Leary (drums).
The Nokounts came from West, Texas, a small town south of Dallas and just north of Waco. The band released one single in August, 1964, “Hey Girl” / “I Saw Her Yesterday” on Venus 500/501. The A-side is a strong bluesy shuffle while the flip is a fast rocker.
Both songs list writing credits as Kudelka – Hunt. Ron Kudelka was part of the group while 45cat lists Harmon Hunt and Bobo Wes as producers. Venus Records Inc, based in Waco, published the songs through Deb-Ka Publ.
The West News covered the band in a front-page article from August 28, 1964 titled “Nationwide Sale of Record by the Nokounts” with a lot of interesting information on the group:
Ron Kudelka, Butch Vochoska and Robert Ernst, all of West, Johnny Nash of Arlington and Randy Hudgins of Waco are members of the young group … they are looking forward to additional dates in Hillsboro, Waco and the famed teenage-nightclub “The Sugar Shack” in Dallas.
This record was also the first recording of Venus Records, Inc., a new company formed by several Hillsboro-West area people with the main office in Waco. Harmon Hunt of KHBR is president of the company and Miss LaNelle Duncan of West is Secretary-Treasurer.”
“Hey Girl” was recorded by Sellers Co. of Dallas and pressed by Wakefield of Phoenix, Arizona. Bill Lindsey of Dallas, nationally known for his hit recording of “Blue,” was the arranger for the recording company.
The Nokounts were originally organized by a group of West High Students [sic], and were first known as the Counts.
The article also noted their Venus 45 had distribution throughout the U.S.
An ad for a teenage dance on Saturday, October 17, 1964 at the Playdium ran in the West News of West, TX on Friday the 16th saying “The Nokounts of West … Recording Stars on the Venus Label “Hey Girl” and “I Saw Her Yesterday” … Their Second record Will Be Released in December “I’m Alone” and “I Don’t Care”.
To my knowledge that second record was not released and those songs have never surfaced.
The Rubber Maze released one excellent double-sided single on Tower 351 in July 1967, featuring two different styles. The A-side is “Mrs. Griffith”, typical of the soft psychedelia of the era, written by Marty Cooper, who co-produced the single with Ray Ruff.
Ray Ruff and Marty Cooper ran the Ruff and Sully labels, based out of Amarillo, Texas. Their publishing companies Little Darlin’ Music Co. and Checkmate Music BMI published both songs. I’ve read this single came out on the Ruff label but haven’t yet seen a copy.
I really dig the flip, a straight-up garage song “Won’t See Me Down”, written by Rubber Maze member Dennis Swinden.
Bassist Ronnie Verge commented on a video of “Mrs. Griffith”:
The Rubber Maze formed in 1965 in San Francisco and moved to Orange County, CA. They started up as The Young Men From Boston, shortly there after change to The Maze, and in 1967 changed to The Rubber Maze. They disbanded in late 1968.
Lead vocals and drums: Reggie Boyd Vocals, lead guitar and keyboard: Dennis Swinden Vocals, rhythm guitar: Brian Blanchard Vocals, bass and cello: Ronnie Verge Alternate Member on vocals and lead guitar: Chad Blanchard
The clipping at the top comes from Mike Dugo of 60sgaragebands.com, part of a two-page write up on a Dick Clark tour with The Split Ends and Yellow Payges in 1968 in Teen Screen.
The Rubber Maze had no connection to the Maze who had the LP Armageddon on the MTA label.
It’s too bad the Jokers never cut any other records ’cause both sides of this one are impassioned performances of original songs.
“What’cha Gonna’ Do” starts with a solid bass line over fleet and distant-sounding (from reverb) drumming. The lyrics come fast with some nice echos on guitar: “That little lamb, you call him man, eating out of your hand, his golden fleece, can bring you peace, now you wanna get past my door …” Harmonica wails along, the vocal harmonies come in, and the song hits crescendo of the chorus after barely half a minute.
“I’ll Never Let You Go” is a more conventional composition, but the Leslie on the guitar lends a tearful sound to this ballad.
The Jokers came out of Valpariso, Indiana, just southeast of Gary, and about an hour’s drive from downtown Chicago, where they recorded their single. The band’s members were:
Tom Allison – guitar, vocals Frank Ball – guitar, keyboards, harmonica, vocals Tim Walkoe – bass, vocals Ron Januchowski – drums, vocals
Released on Destination 614 in October, 1965, according to the Sundazed compilation 2131 South Michigan Avenue: 60’s Garage & Psychedelia From U.S.A. And Destination Records “they cut their one Destination 45 with engineer Stu Black at Sound Studios. Stu had also engineered the early New Colony Six, which might explain the familiar Leslie guitar sound on the Jokers’ “‘I’ll Never Let You Go.'”
Ron Januchowski sang lead on “What’cha Gonna’ Do”, which was written by Tom Allison and David Roth. Frank Ball and Roth co-wrote “I’ll Never Let You Go”, with Destination and Tawny, BMI publishing both songs.
David Roth is supposed to have been a pharmacist who, under the name Bernard Roth, had written “Forty Days and Forty Nights” for Muddy Waters back in 1956. The Library of Congress lists both of the Jokers’ songs under Bernard Roth only, but BMI’s current database doesn’t list either song. It’s amazing that someone who wrote a few blues songs ten years earlier was able to cop some of Dylan’s quick patter on “What’cha Gonna’ Do”.
Although white label promos exist, this blue-label copy has asterisks by “What’cha Gonna’ Do” – and I’ve had another stock label that is identical but does not include these.