Standing from top left: Pete Ross (guitar), John Carroll (organ), Dalek (security) & Kenny Power (sax)
Kneeling, from left: Steve Horrell (road manager), Hans Herbert (drums) & Pete Carney (bass)
Judging by an article (at right) in the Middlesex County Times and West Middlesex Gazette from 4 July 1964, The Flexmen came from the Ealing, Middlesex area. The line up comprised:
Pete Ross – guitar
Pete Carney – bass
Ken Power – sax
Bob Sellars – sax
Hans Herbert – drums
Peter Carney had started out playing rhythm guitar with Ealing band, The Krewsaders during 1962. Formed with his cousin, lead guitarist Micky Holmes, the pair added drummer John “Speedy” Keene, after coming across the young sticks man at a local youth club. Keene in turn introduced John McVie.
“Speedy said that he knew this guy who wanted to join a band and that his father would buy him a bass guitar and amp if he did,” recalls Carney on McVie’s addition to The Krewsaders.
Unfortunately, in early 1963, McVie left to join John Mayall’s Bluesbreakers and his departure contributed to the group’s break up. “John McVie lived near a guy named Cliff Barton who played with Cyril Davies and told John that John Mayall was looking for a bass player and got the gig,” remembers Carney.
With Micky Holmes and Speedy Keene forming rival Ealing band, The Second Thoughts, who became regulars at the Ealing Club, Peter Carney swapped to bass and formed a new band with lead guitarist Pete Ross, who knew and lived near The Krewsaders’ manager, Steve Horrell. According to Keith Gardiner, rhythm guitarist with Jeff Curtis & The Flames, Pete Ross had worked with him and future Jimi Hendrix sticksman Mitch Mitchell in a rudimentary band at Tudor Rose Youth Club in Southall, Middlesex in late 1957.
As Ross recalls, his playing history did indeed go back to youth club groups in the late 1950s during which time he listened to a wide range of music – Segovia, Barney Kessel, Chet Atkins and Hank Marvin to name a few. “I started on the ukulele and moved up to an acoustic guitar which I found in a second-hand shop – finally on to a Broadway guitar, which had a couple of pickups and a tremolo arm so I could do all those ‘Shadow-y’ things,” he says. Thanks to an older sister who “chaperoned” him to Southall Community Centre every Sunday to catch top artists of the era like Gene Vincent, Johnny Kidd & The Pirates, Little Richard and Chuck Berry, Ross developed a broad taste in music although he says his main focus was on US artists such as Richard Barrett.
July 4, 1964
The lead guitarist knew Steve Horrell, who lived around the corner from him and also owned a red-pillar box early Ford Transit van, which would become The Flexmen’s mode of transport. It was Horrell who linked the two Peters up. “Pete and I immediately hit it off and realised we both wanted to play the same kind of music with him heavily into Bob Dylan, Doris Troy, and loads of other ‘obscure’ artists whose music was enlightening,” says Carney. “We were both in awe of Cliff Bennett & The Rebel Rousers and would go and watch them at Southall Community Centre whenever they played there so decided that this is what our band would be like.”
After scouring the local youth clubs, the pair came across sax player Kenny Power, who introduced his sax playing friend Bob Sellars. Drummer Hans Herbert completed the line up not long after and The Flexmen debuted at Elthorne Youth Club. According to the Middlesex County Times and West Middlesex Gazette, the band played at Ealing Town Hall on 11 September 1964 and 8 October 1964 (where The Second Thoughts, featuring Micky Holmes and Speedy Keene, also appeared on the bill).
The Flexmen also appeared at Victoria Hall, Ealing on 26 June 1964 and 24 November 1964 (sharing the bill with Jimmy Royal & The Hawks). Another gig from this period took place at Shackleton Hall in Southall on 4 December 1964. As Pete Ross points out, the band was frequently mentioned in the newspaper. “A close school friend of mine – Mike Ryder – was a journo on the Middlesex Times and gave us column inches on a regular basis.
Sometime during this time, The Flexmen took part in a “Battle of the Bands” competition at Wimbledon Theatre where they came second. Not long after, however, Bob Sellars departed and the group recruited organ player John Carroll. “When John joined with his Vox Continental, we included songs by The Animals and other keyboard-y stuff,” remembers Ross. The band also recorded a series of demo tracks, including covers of “Fortune Teller”, “Poison Ivy” and “Reelin’ and Rockin’”.
However, around July 1965, new recruit Carroll answered an advert in New Musical Express, asking for an organist to join a band to tour Poland. The group, known as The London Beats, needed a bass player and Peter Carney passed the audition.
With Carroll and Carney out of the picture, The Flexmen splintered. It’s not clear what Hans Herbert and Kenny Power did immediately after the band’s break up that summer. However, during 1966 they signed up for another West London band called The All Night Workers.
After touring Poland for about three months, Peter Carney and John Carroll decided not to participate in a second tour. Carney next joined Tony Knight’s Chessmen in late 1965 but after a year he jumped ship to join Geno Washington & The Ram Jam Band.
Carroll, meanwhile, worked with several other local bands before reuniting with Carney in The Chessmen. In early 1967, however, he joined Nick Simper, Mick Stewart and John Kerrison in a very short-lived version of The New Pirates (formed after Johnny Kidd’s death) and toured the UK.
Around May 1967, Carney reunited with Carroll once again and also Hans Herbert when he managed to recruit them into Geno Washington & The Ram Jam Band. The reunion was short-lived, however, and both musicians were replaced before the decade was out.”
Carney subsequently moved to Australia where he played with The Bullamakanka Bush Grass Band. He has since returned to the UK and currently plays with English folk band, Hawkie Chapman.
As for Pete Ross, in the summer of 1965, he signed up with a six-piece R&B band from West London called The Ray Martin Group, who were a regular fixture at the Ealing Club throughout 1965 and later at nearby Feathers. The band’s line up also included singer Ray Martin, sax player Terry Marshall (son of the famous Jim Marshall) and drummer Paul Atkinson.
Ross went on to work with a number of bands before starting up the worldwide company CP Cases along with a drummer friend who also worked in Jim Marshall’s shop in Hanwell. The Isleworth, Middlesex-based company designs and manufacturers hi-performance protective cases for transport, operation and storage of essential equipment.
Many thanks to Peter Carney and Pete Ross for helping to piece together the band’s story. Thank you Pete Ross for supplying the band photos.
My fellow DJ on WGXC known as “The Magic Stranger” played this intriguing 45 for me, so I said I’d try to find out more about it.
The group seems to be The Invicta Way, and each side of the record has its own label name. Or maybe the label is The Invicta Way and different artists are listed at the top. “What Am I To Do” has an interesting keyboard sound – anyone know what instrument makes that exactly? This side lists Someone Else at the top.
“Things As They Should Be (Two Flowers Spreading Love)” has ‘Du Rango La Platz’ where the label name would usually go. I’m not sure what this refers to, but Durango is a city in La Plata County in southwest Colorado.
Teen Beat Mayhem lists the group as Someone Else with a possible Texas origin, but notes that this 45 has maybe the most ambiguous label on any ’60s single. Dead wax reads INVICTA 45-2301/2 BRS. However, both songs were written by McRay for Kery Pub, BMI which suggests only one group. Ron Kery was producer for both sides. Released circa 1968.
Amway was the label of Alpo Music Productions of Sellersburg, Indiana, across the Ohio River and north of Louisville, Kentucky.
I haven’t heard the Torments or the Profiles yet, but the others are all excellent, if primitively recorded and performed.
According to Mike Markesich, the Classics came from western Ohio and the Torments from northern Kentucky. The recordings were likely made in a backroom of a radio station or very basic studio in Louisville, and the tapes were sent to RCA’s custom service for pressing.
This discography may be incomplete – any help with info and scans would be appreciated!
The Octives – “Love” (Bob Burton, Bruno Music BMI) / Laughing At Me” SK4M-6174/5 (second half of 1965)
The Classics – “Trisha” / “I’m Hurtin’” (Garland, Titlow,& Donahue, Playridge Music BMI) (825M-4956, T4KM-4956, first half of 1966)
The Emotions – “Every Man” (John S. Hodge, Playridge, BMI) / “I Just Do It” (825M-4957, T4KM-4957/8, first half of 1966)
The Profiles – “If You Need Me” (Golden & Bateman) / “Please Come Back” (Marion Howard and Mike Howard, Playridge, BMI) 825M-5840, T4KM-5840/1, first half of 1966, Mel-O-Dee Entertainment, Inc.)
The Torments – “Lying to Me” (Buddy Perryman – Tim Feldman, Playridge Music, BMI) / “I Love You More Each Day” (824P-3715, TK4M-3715/6)
If anyone has photos or info on any of these bands please get in contact with me at chas_kit [at] hotmail.com
Incomplete Duane Discography any help with this would be appreciated – contact me)
Duane 1022 – The Ebbtides – Star Of Love / First Love (both sides Phillips-DeMello, Maredken Music, BMI 1964)
Duane 1023 – Lee Curtis – My Love Don’t Go / ?
Duane 1042 – The Weads – Don’t Call My Name / Today
Duane 1043 – The Savages – No No No / She’s Gone
Duane 1046 – Bishop Kane – Any Time That You Are … / ?
Duane 1048 – The Gents – If You Don’t Come Back (W. Cabral) / I’ll Cry
Duane 1049 – The Savages – Roses Are Red My Love / Quiet Town
Duane 1054 – The Savages – The World Ain’t Round, It’s Square / You’re On My Mind
Duane 101 – The Invaders – Lost Time (Richardson) / Bossa Blue (recorded February 5, 1970, produced by J.P. Salvatori, Maredken Music BMI)
Duane DX 500 – Stone Foxx – Gypsy Lady (Leon Elton, Chris Rowe) / Agamemnon
Duane LP-1047 – The Savages – Live n’ Wild
Duane LP-1101/1102 – The Invaders – Spacing Out
Much of the label is Carribean or funk music, but the Weads, the Savages and the Gents are the garage exceptions. See my pages on the Savages and the Weads for more info on those bands.
The Gents included Andy Newmark, Glen Mello (I’m not sure if there’s any relation to Eddy DeMello) and drummer Frank Chiappa, and possibly Winston Cabral. The Gents is one band I’d love to know more about.
Spacing Out was reissued (legitimately?) on the Duane label and also booted on Baadasss Records. Originals etched Duane 1101-A/1101-B, with small “lw” in script and small stylized “sr”
Eddy DeMello owned the Duane label (named for his son) and operated out of the Music Box record store in Hamilton, Bermuda. Eddy passed away on March 6, 2013 (see Royal Gazette artlcle).
Note: No connection to another “duane” (all lower case letters on the labels) which had country releases by Roy Montague produced in Memphis, TN, and a good garage 45 from a Boise, Idaho band, Wm Penn & the Quakers: “Coming Up My Way” (Gerald D. Tucker) / Care Free (Lanny Gunther); produced by Gerrie Thompson.
Thanks to Steve Kahn for informing me about the Ebbtides release.
Recently I bought the Yardleys first 45 and found the band was listed as unknown in the liners to Lost Souls vol. 1, from Pine Bluff in Teen Beat Mayhem, and from Alabama in Gear Fab’s Psychedelic States CD series!
Billy Bob Thornton had his own garage band, the McCoveys, in his hometown of Malvern, Arkansas, about 40 miles southwest of Little Rock. He wrote about the Yardleys in his autobiography, The Billy Bob Tapes: A Cave Full of Ghosts:
The big band in my town was called the Yardleys … Steve Walker, Larry Byrd, Bo Jones, Bucky Griggs and Butch Allen. They had a Farfisa organ, bass, guitar, drums and Bo Jones played the trumpet. They played original songs and actually made a couple of 45s that were played regionally, but they may as well have been the fucking Rolling Stones or the Beatles as far as I was concerned.
The Yardleys used to have these street dances and they would rope off the main Dollar Store and Safeway parking lots. It cost fifty cents or a dollar to come inside the rope and dance in front of the band … Most of my days in junior high and high school were spent trying to figure out how you get chicks that looked good, and just standing there watching these bands like the Cadets, LSD and the Illusions, the Senates, the Yardleys and the Beethovens.
The Yardleys were playing a cover of “Cold Sweat” by James Brown. Steve Walker, the guitar player, landed on a nail on the wooden stage during his guitar solo. When he got back up, his pants were ripped and he had this bloody knew but he just kept playing …
In 1966 the Yardleys released their first 45 on the Foundation label. featuring the subdued original by Bucky Griggs and Larry Byrd “Come What May” on the top side, backed with Butch Allen’s excellent and upbeat “The Light Won’t Shine”. Both songs published by High Fidelity Oleta, BMI.
Butch Allen wrote both songs on their second 45 from January, 1967 on their own Yardley label, the very Stones-inspired “Your Love” backed with the gentle “Just Remember”, both songs published by Quinvy, BMI.
I could use a label scan of the great and obscure Group Therapy release, “Seventh Heaven” / “Cheated Again”, if anyone has it.
The Tommy Love is the only picture sleeve I know of for Rev.
The label’s location is usually noted at 12044 Chandler Blvd, N. Hollywood, CA, but the Tommy Gardner 45 gives an address of 12055 Burbank Boulevard. No relation to the Rev label from Arizona in the late ’50s that had releases by Doug Hardin, Skip & Flip, etc.
I’ve put these in possible order of release – but it’s only a guess.
This discography is probably incomplete – any help with info and scans would be appreciated!
Rev A1001 – Tommy Love – “Love Bug Is Buggin’ Me” / “Your Heart Is Like a Swingin’ Gate” (W.V. Thrasher, arranged by Bruce Locke)
Rev A-1003 – Gil Shelton – “I Was Wrong from the Start” (Joe Fiorito, Laucan Music BMI) / “A Penny in the Wishing Well”
Rev 45-1005 / 45-1006 – Lonnie & the Legends – “Penguin Walk” / “Crazy Penguin” (George Grah, Laucan Music BMI, with picture sleeve)
Lonnie & the Legends had at least three 45s on various labels, I cover that band in more depth here.
Rev 45-R-1102 – Tacey Robbins and the Vendells – “My L.A.” / “Ordinary Boy” (both by Billy Storm, “Sound Track Motion Picture ‘Psycho a GoGo’”, arranged by Don McGinnis, Produced by Al Adamson, Laucan Music, BMI
Rev 45-D-166/45-D-266 – Group Therapy – “Seventh Heaven” (Tom Jones, Bill Doran) / “Cheated Again” (Bob Pecel) (both sides arranged by Bill Doran, March 1966)
Rev 45-D-104-66 / 105-66 – Jack Bedient & the Chessmen – “Glimmer Sunshine” / “Where Did She Go” (October 1966)
Rev 45-115-67/116-67 – The Royal Teens – “Chicaney” (Chirico-Whittle, Laucan Pub, BMI) / “Tears in My Eyes” (Monarch #66743, May ’67, band included Sam Chirico who later formed “The Paper Fortress”)
Rev 45-119-68/120-68 – Real People – “Sea Of Reality” / “The Man” (1968)
Rev-5001 – L.A. County C.O.P.E. – “Sacramento Playhouse” (Cheep Music, ASCAP, 4:00) / “Stand Up You Children”
COPE = Commitee on Political Education? Seems to be some riff on Nixon – anyone have clips of this or a good scan of the b-side?
Rev-3029 King George and the Timps – “I’m Thru Losin’ You” (Howard Huntsberry, Launcan BMI) / “I Cried” (George Renfro)
Also released on Midtown M-002, “I’m Through Losin’ You” (credit changed to E.B. Robertson) / “I Cried”
Rev issue seems to be rarer
Rev-3528 King George and Mischief Lads – “Shing-a-Ling Baby part 1″ / “Shing a Ling Baby part 2″ (both by George Renfro)
“part 2 is particularly insane” – Mr. Robinson
Rev-8107 – Tommy Gardner & His Versatiles – “Why” / “That Kind of Love” (both by Tommy Gardner, Mayon Pub ASCAP)
This label gives Rev Records address as 12055 Burbank Blvd.
Thanks to Ed Nadorozny for the scan of the Gil Shelton 45, to Max Waller for info and the scans of the Royal Teens and to Mr. Robinson, beccabear, Laurent and the rest of G45 Central for their help. Thank you to Barry Wickham for the scan of the Lonnie & the Legends sleeve and Group Therapy 45.
Afton Records, owned by Milt Salstone of M-S Distributing. Vic Parnel gets production credit on some of these.
Probably incomplete – any help with this discography would be appreciated.
Afton 1700 – The Strangers – “This Brave New World” (Bob Rubin) / “In the Beginning”
I haven’t heard this one but it’s described as surf instrumentals
Afton 1701 – Five Bucks – “No Use in Trying” / “Now You’re Gone” (April 1966)
first press omits label # and lists b-side as “Now You’re Mine”
Afton 1702 – Gnomes – “The Sky Is Falling” / “Something’s Going Wrong” (both by Carpenter Sullivan)
great ballad backed by first-rate garage
Afton 1703 – Sound Carnival – “I Wish I Could Tell You” / “Dreams” (both songs by Stock, Siegel, VicMil Music BMI, September, 1967)
band from Morton Grove, Illinois
Afton 1704 – Donnie Sanders & the Don Juans with Scherri St. James – “Make a Happy Home” (D. Sanders, Vicmil Music BMI / “Shing-a-Ling Baby”
I don’t believe there is a connection to the Afton label that released Frank Pizani’s “Steady Cha Cha” / “The Stars Will Remember” (Afton 617, Pino Music Co., U 1703) in 1959. There are other Afton labels not connected to this one.
The Sound Extraction (from left): Terry Jones, Tommy Taylor, Randy Edwards, Lanny Hays, Donald Housman, Dee Presson and Lana Edwards
The Sound Extraction had one great 45 “I Feel Like Crying” / “Tina” on J-Three Records. The band was from the town of Mayfield, Kentucky in the southwestern corner of the state, not far from the borders of Tennessee and Missouri. Mario Aguayo interviewed Terry Jones and they both are allowing me to publish it on Garage Hangover:
How did you first get interested in music?
My mother passed away when I was only 8 years old. She was a guitarist, songwriter, and singer. Lanny’s dad was also a singer and guitarist and my dad was a singer. After our mom passed away, my aunt, her sister and 2 children moved in with us to help dad to take care of us, as she was divorced. Well, you guessed it, my dad ended up marrying his sister-in-law; so we became a large family of 2 boys and 5 girls.
My aunt who became my step mother was also a singer and guitarist. She taught all of us to play instruments and we formed a family band called, “Lanny and the Skylighters.” We played as the family band for several years at sock hops, grand openings, talent contests, festivals, and such. We were even on our town’s radio station for a while.
Lanny And The Skylighters
How did The Sound Extraction form?
We had entered a contest against the Sound Extraction and came in 2nd place to them. That’s how we met them.
At the time the record was made, my stepsister, Lana and I sang with the band, but later, I replaced the keyboard player, and Lana replaced the drummer. From left to right in the picture are me, Terry Jones – singer, guitarist, and keyboard player, Tommy Taylor – keyboard, but not for long, Randy Edwards – my stepbrother, played the bass and sang, Lanny Hays – my half brother, played rhythm guitar and sang, Donald Housman – drummer, but not for long, Danny Presson – lead singer and lead guitarist, and Lana – played guitar, drums, and sang. As you can see that very soon after joining the band, we were all family except for Danny, or Dee, as he liked to be called.
Lana and Dee fell in love and got engaged. That’s how the band formed.
Where did The Sound Extraction typically play?
As the Sound Extraction, we played mostly in bars and clubs. We had regular gigs at The Eagle and Moose Clubs, and then played at bars all over the 4 state area, including Missouri, Tennessee, Kentucky, and Illinois. We also played at picnics, family reunions, proms, festivals, etc.
Did The Sound Extraction have a manager?
Dee was the only manager we had. We enjoyed playing very much and had regular followers that would go everywhere with us and keep the people dancing and clapping! We had a blast! I was only 14 when we first started playing in the bars, but no one ever asked me my age, as I wore lots of makeup and looked older than I was. Our parents were always there, too, keeping watch on us and enjoying every minute of it. We played old rock and roll, country, and some bluegrass.
How did the band end up recording their 45 “I Feel Like Crying / Tina”?
The band recorded the 45 after we won a contest. The prize was the recording. Bill Scarbrough was the one who recorded it. He was one of the DJ’s at WNGO in Mayfield, KY where we lived.
I believe we only won 1000, but had more made. Not too many more though, so the actual records are very rare. I believe that Lanny, Dee, and I are the only ones that have one of the original records left. I have never known anyone else to tell me they have one. The 45 was recorded and released in 1968.
Danny Presson is known for his ‘cupped-hand’ harp action. What were the reasons for him doing that?
Dee was doing the hand harmonica music when we met him, so it is very hard to say how he actually learned to do that. He cupped his hands and did it with no instrument. You only heard a small portion of what he could do! He amazed people everywhere he played with that. When he opened his hand and there was nothing there, people could not believe it. He did it on a few other songs and did a great job at it.
What were your concerts / gigs typically like?
I loved the gigs and, of course, all the attention. I had always been a shy girl, but when I got on stage, I could just let it all go and I gave it all I had…. It was my identity, it was who I was. I loved wearing all the neat outfits and makeup and entertaining people. I still do to this day!
Did the group have any other recordings?
We never made any other recordings.
What year and why did the band break up?
The band broke up in 1969, because Dee and Lana broke up.
What are your fondest memories with the group?
I have so many fond memories… it’s so hard to tell you about all of them. Practices were great! We turned the music up so loud and were thrilled to learn almost every new song that came out.
Life after The Sound Extraction?
I sang in a group called Jaroboga back in the 70’s … mostly singing in bars. I would sit in with Wolfman and the Pack at a little bar in Fulton, KY sometimes. As the years went by, I gave my heart to the Lord and now sing a new song. I have lead the singing in various churches, sang with gospel groups, and done some specials at singings and homecomings. I recently started to a new church and haven’t done anything since I have been there. I do sing on the Praise and Worship team where I work. I am blessed to have a job at a Christian college where our staff meetings are more like church!
Interview conducted by: Mario Aguayo
Pictures courtesy of: Terry Jones
There are two garage 45s in these lists, Shep & The Downbeats “Girl, Girl” / “You’re Never There” on the Roulette-distributed Satin label from NY, and Gary & Kyle “Stay With Me” / Smaller Than You” from San Antonio.
Any help with completing these discographies would be appreciated.
I could also use good quality scans of the San Antonio label 45s, and of the Adophus Bell
All labels read “Exclusively distributed by Roulette Records” except for a green label with plain black text version of S-400, Annabelle Fox’s “Getting Through to Me”, which Mike Markesich states is a West Coast pressing and not the first issue.
The first three releases come in promo white label and two-tone green labels. 402 and 403 only seem to exist with promo white labels.
Satin S-400 – Annabelle Fox – “Too Good to Be Forgotten (Bell 40,004) / “Getting Through to Me” (mastered at Bell Sound 40,002)
Satin S-401 – Al Hibbler – “Good for a Lifetime” / “Once Before” (Bell Sound 40,005)
Satin S-402 – Annabelle Fox “Lonely Girl” / “Humor Me” (Bell Sound 40,003)
Satin S-403 – Shep & The Downbeats – “Girl, Girl” / “You’re Never There” (both by Ted Kobran) (produced by Rama Wilson Associates, Bell Sound 40,009/10)
All except Shep & the Downbeats produced by Teddy Rendazzo, and published through South Mountain Music, BMI.
Most of the Rendazzo produced 45s have song writing credits to some combination of Rendazzo, Bobby Weinstein, R. Allison and L. Stallman.
Kurt L. sent me the scan of Shep and the Downbeats. Kurt remembers hearing that the band won the WABC Battle of the Bands, with a recording contract with Satin being the prize. The group played at Martin Van Buren High School in Queens Village, and likely were students at that school. The only name I can find in connection with the group is Ted Kobran.
Teen Beat Mayhem says the band was from Union City, New Jersey and gives a release date of August, 1966. Although “You’re Never There” rates higher than the flip in TBM, I think “Girl, Girl” is the better song.
Shep & the Downbeats has a “Rama Wilson Associates” production credit. This should read Ramal-Wilson, as in Bill Ramal and Marty Wilson. They had previously produced singles for Diamond.
A notice from Billboard’s October 22, 1966 issue states”new artists added to Ramal-Wilson Associates are Shep and the Downbeats, the Upper Crust, Gary Criss, Bruce Bruno and Carole Colby.”
Another Billboard notice from May 21, 1966 mentions Ramal-Wilson Associates producing the Ramblers on Red Bird and the Perfect Strangers on Capitol. “All sides were arranged by Joe Scott, staff arranger for Ramal-Wilson.” However, I’m not aware of any releases by these other artists.
New York but probably no connection to the later Satin label:
Satin 921 – Rhythm Rockers featuring Johnny Serrano – “Oh Boy!” / “We Belong Together” (Norvojak Music BMI) (October 1960)
Satin 2-100 – Tammy McKnight – “What’s Her Name” (E. Darder – Allen Orange) / ? (SoN 1591, Chavis Music BMI, A Hi-Liter Production)
Satin 2-101 – Al White & The Hi-Liters – “Johnny B Goode” / “Let That Guitar Roll”
Satin 2-102 – Alex Spearman – “Mama-ka-toko-laka-poo-poo-yay” (L. Bonds) / “On Our Wedding Day” (Emelda Music BMI, SoN1561))
San Antonio, Texas:
Satin SA-003 – The Mavericks, vocal by Moe Bandy – “Lonely Girl” / “Too Many Times Before”
Satin SA-004 - Trochais - “Give Me An Answer” / “Phantom” (1966, B-side is a surf instr)
Satin SA-006 – Satin Kings – “Mil Veces” / “Echale un cinco al piano”
pink label with ribbon “S” in Satin. 411 S.W. Military Dr., San Antonio
Satin SA-007 – Gary & Kyle – “Stay With Me” / “Smaller Than You” (both by Gary Young, Satin Music Pub SESAC, June ’66, duo from Poteet, TX)
Satin SA-014 – Playboys “All I Do Is Cry” / ? (8-66 PB-4)
pink label with script Satin” but no ribbon:
Satin SA-015 – Playboys – “Falling In Love With You” / “Let Them Talk” (Joe Seneca)(prod. Emil J. Henke, LH-2836/7, December 1966)
two-tone label with Satin Records in box:
Satin SA-021 – The Ones - ”Sure Gonna Miss You” / “What’s It Like To Be In Love” (1967)
Satin SA-025 – The Lively Set “Soul Diggin’” “Blues Get Off My Shoulder” (vocal by Earl Adams)
Satin SA-030 – The Three Dudes – “Sad Little Boy” / “I’m Beggin’ You” (Jan 1968, group aka Four Dudes, Images)
Satin SA-041 – Michael Lord & the Romainaires - ”St.James Infirmary” / “Take Five” (1969)
Satin SA-047 – Clique Camarilla – “The Ride” (Donny Leavitt) / “The Hello Song” (Prod. by M. Montgomery for Sabra Prod., Riviera Music BMI, 4-69-1)
Satin SA-061 – Ty Lemley – “Ramblin’ Ways” / “One Day at a Time” (country 45)
Satin SAT-1111 – Adolphus Bell & the Up Starts – “Black Eye Peas” (C.A. Bott, W. Hutchingson, Joy Boy BMI) / “Lafin Gas” (C.W. Powell, D. Bell, S. Godfrey, Cevet BMI) (1031-45-SAT1111) Blues Art Journal has an article on Adolphus Bell but the author seems unaware of this recording.
There was also a Satin label out of Washington state in the 1970s.
Thank you to Max Waller for his additions to this discography and for the Gary and Kyle scans.