Category Archives: Hollywood

Karen Verros “You Just Gotta Know My Mind” on Dot Records

Karen’s Somerset High School yearbook photo, 1964

Karen Verros made three singles for Dot Records in 1965 and 1966, her best known being “You Just Gotta Know My Mind” and “Little Boy”. She came from Somerset, Massachusetts, near Rhode Island, graduating with honors from Somerset High School in 1964.

The year after graduation she was in Los Angeles, recording for Dot Records with Jack Nitzsche arranging, and David Hassinger and Mike Minor producing. How she came to the attention of Dot Records I do not know.

For her first record, Nitzsche arranged a Donovan composition, “You Just Gotta Know My Mind”. The prominent bass and solid drumming, the tambourine, vocal chorus and twangy guitar lines, provide an exciting backing for Karen’s lead vocal.

Donovan sheet music for "You Just Gotta Know My Mind"
Donovan didn’t release his own recording of the song. It appears he made a demo version that publisher Southern Music distributed on lacquer acetate, as that was a common way for publishers to sell songs. An Emidisc acetate cut for Southern Music sold in 2010, with Donovan’s song on one side, and an obscure Carter-Lewis song “How Can I Turn Away” on the other. Audio of “How Can I Turn Away” has surfaced, but the Donovan demo has not. I would very much like to hear it!

It’s possible one of Karen’s producers found the song because Southern Music Publishing in New York issued it as sheet music in 1965, with a piano arrangement by George N. Terry. Nitzsche’s arrangement closely follows the sheet music.

Steampacket II cut a version of “You Just Gotta Know My Mind” in 1966 on a Sweden-only 45 release, and in 1968 Dana Gillespie recorded another good version of the song for a UK single and her first album Foolish Seasons. However, Karen’s version is the first and definitive recording.

Karen Verros Dot 45 You Just Gotta Know My MindReleased in October 1965 on Dot 45-16815, the labels read 1:57 on the A-side, but play a version fifteen seconds longer that repeats the first verse after the guitar solo. The B-side is the vocal-less backing track of “You Just Gotta Know My Mind” with an overdubbed lead guitar, titled “Karen’s Theme”.

There are both vinyl and styrene versions of the single. I’ve read that the first pressing of the 45 features an edited 1:57 version of “You Just Gotta Know My Mind”. However, I’ve had two vinyl copies and one styrene, and all three played the 2:12 version of the A-side despite the 1:57 time listed, and had “Re” on labels & in the dead wax.

Ace used a Sunset Sound Recorders acetate (or possibly an edited tape) for the 2006 CD release Hard Workin’ Man – The Jack Nitzsche Story, Volume 2. I believe this is the source for the 1:57 version. If someone has a Dot 45 that actually plays a 1:57 version of the A-side, please contact me!

Unfortunately this single does not seem to have had any push from Dot Records, as I cannot find any promotion or reviews in the trades.

Karen’s earliest television appearance may have been on Let’s Go Go in November, 1965, with Tommy Roe, the Plymouth Rockers and John Astin (Gomez Addams from the Addams Family, who had a 1965 single on United Artists, “Querida Mia” / “Wallflower Pete”). I’m not familiar with this TV show. The episode was announced in the Journal of Jersey City, NJ.

Karen’s next 45 came in December, 1965, “I Can’t Remember Ever Loving You” backed with a remake of the Crystals “Little Boy”, also arranged by Nitzsche and produced by Hassinger and Minor.

McKeever & the Colonel, Hollywood a Go Go, Outer Limits rerun, or Nabokov interview?

This one received a good push from her management, as Karen appeared on what seems to have been the final episode of Hollywood a Go Go in February 1966, lip-synching to both sides of the record. Other performers were Freddy Cannon, the Byrds, the Bantems, the Everly Brothers, Bob Lind, David Watson and James Darren.

Cash Box reviewed the single positively on January 29, 1966, while Billboard mentioned “I Can’t Remember Ever Loving You” but not “Little Boy”. The next week Dot listed the single in an ad in Cash Box and Billboard featuring Bonnie Guitar and many other new releases.

On January 30, 1966, Karen appeared on the Danny Thomas Teen-agers’ Shindig at the Riverside Municipal Auditorium on a long lineup that included the Spats, the Sunrays, Barry Richards, the Paris Sisters, Dick and Dee Dee, Donna Loren, the Grads, and the Beauchemins, along with some who are unknown to me: Bobby Perris, Tony Dow, Paul Peterson, Tony Thomas, and the Germs (!).

She appeared on Where The Action Is at least twice, in April 1966 with Otis Redding, Steve Alaimo and Paul Revere & the Raiders, and in May, 1966 with Susan Rafey, Tina Mason and Cindy Malone.

Her third and last record on Dot was “Wish Me A Rainbow” / “So Warm My Love”, arranged by Pete King, and released in the summer of 1966. The A-side was the theme from the Natalie Wood & Robert Redford movie This Property Is Condemned, however the film & soundtrack versions were sung by actress Mary Badham.

Karen Verros at right in the Young Americans, August 1966. Also in photo: Lisa Binney, Steve Wilson, choreographer Diane Turnquist, Mary Arnold, and Ernie Becerril.

Around the time of her last Dot release, Karen joined the Young Americans song-and-dance group. The Ottawa Journal ran two profiles of the group: first on August 25, 1966, and another on September 3 that quoted Karen and described her as “a newcomer to the Young Americans.” The group appeared at the Central Canada Exhibition grandstand show.

The Young Americans originally formed in 1963 at Birmingham High School in Los Angeles. According to the Journal, M.A. Turnquist was business manager and Phil Azelton music director.

The Boston Globe ran a short item about the Young Americans on November 18, 1966:

The Young Americans, who were such a smash hit on the Andy Williams Show and the Allen Sherman special the past fortnight, will help Perry Como pry open his new season next Monday. One of its members, Karen Verros, will be watching from the home of her parents in Somerset.

On September 28, 1968, Cash Box reported:

Newest indie production firm on the coast is Raydan Prod., with Ray Katz and Danielle Mauroy partnered. Initial deal with MGM Records calls for four artists – two already released (Judd and Lisa’s “Some Other Place” and Mayf Nutter’s “Daddy Love You Boy”) with Karen Verros set to cut this week. Katz also manages a fistful of talents including Fran Jeffries and Eva Gabor. Mauroy was formerly with Barclay Records in France. Raydan is located at 9000 Sunset in L.A.

If Karen recorded for Raydan or MGM, there were no releases to my knowledge. Danielle Mauroy had produced the Lollipop Shoppe’s Just Colour album on Uni earlier that year.

On January 8, 1971 the Concord Transcript ran this notice:

Leather and Lace has top billing in the Topaz Room of Nevada Lodge … Leather and Lace has four men and one woman. All members are good enough to be considered lead singers. But Karen Verros – who is the lace of the group – is a stand-out as they perform a fast, exciting act.

An evening of Leather and Lace almost always includes the full assortment of entertainment hor d’eourves [sic]: rock ‘n’ roll, folk songs, pop numbers, spiritual songs, show tunes, comedy material and flashy dance routines.

Two members of Leather and Lace were formerly on the Doodletown Pipers television series, another was a member of the Kids of the Kingdom at Disneyland, and two were performing with a well-known rock group.

Leather and Lace record for Mercury records. The male contingents are Craig Ward, Chet Cook, Larry Walker, and J.C. Ferris.

I can’t find any recordings on Mercury Records for Leather and Lace, and I wonder what was the “well-known rock group” that the clipping mentions. The Reno Gazette also reported on Leather and Lace on June 11, 1971. That is the last notice I can find of Karen’s musical career.

Karen Verros was one of ten child performers including Chris Barnes (Turner Doyle in The Bad News Bears) who had money in savings bonds held by the Los Angeles Family Court, according to an article in the Los Angeles Times on April 26, 1998.

Karen Verros at left with members of the Young Americans, 1966.

The Polaras “Cricket” / “Breaker” on Pharos

Polaras Pharos 45 Cricket

The Polaras released a good instrumental 45 “Cricket” / “Breaker” on Pharos PR 100. Harry Baldwin wrote both songs, published by Bevlynn. Cashbox reviewed the single on July 11, 1964.

My copy is inscribed by Harry Baldwin and Don “Pickle” Nadow. Copyright registration from September 21, 1964 shows the band’s names for an unreleased pair of songs, “Polara 500” and “Pickled Drums”, with music by Les Peterson, Harry Baldwin, Arden Fennell, and Don Nadow. Bevlynn Music Corp. also published these songs. I hope they exist on a demo.

Polaras copyright Registration for Pickled Drums and Polara 500,September, 1964

Assuming these are the members of the group, the lineup might be:

Harry Baldwin – guitar
Arden Fennell – guitar
Les Peterson – bass
Don Nadow – drums

Polaras reviewed in Cash Box, July 11, 1964
Cash Box review, July 11, 1964

Arden Fennell is the only member I can find further info on. Arden had a 1969 single on Evolution, “Baby” b/w his original song “Smile A Little Smile”.

Arden was also guitarist and vocalist in other groups: The Daniel Paul Revelation with Sam Haughland, John Kerns, Rich Tiley, and Randy Tiley; and The Tryb with Ralph Gonzalez, Jerry Lawson, Tim Rock, Leroy Shuster, Bill Shuster, both of which recorded unreleased songs at Norman Petty’s studio.

Pharos was based in Hollywood, mainly releasing records by TV actress Rosemary Prinz, and a jug-band type single by the Nomads, produced by Jackie DeShannon.

The Paper Fortress “Butterfly High” and “Sleepy Hollow People”

The Paper Fortress, from left: Sam Chirico, Evan Zang, Joey Campo, and Jim Whittle

Roya lTeens Rev 45 Tears in My EyesThe Paper Fortress started out as the Royal Teens, making one single for the Rev Records label, “Tears in My Eyes” (Chirico) / “Chicanery” (Chirico, Whittle) in 1967.

Members were:

Sam Chirico – rhythm guitar, lead vocals
Jim Whittle – lead guitar, vocals
Joey Campo – bass, vocals
Evan Zang – drums, vocals

The following year, they went into the studio with Tandyn Almer and Eddie Hodges to make “Butterfly High” / “Sleepy Hollow People”, released on VMC V719 at the Paper Fortress. Although the single used studio musicians, Sam Chirico sang lead vocals, with Evan Zang harmonizing, and Jim Whittle and Joey Campo adding backing vocals.

Evan Zang sent in the photos seen here and wrote to me about the group:

We were all from Redondo Beach. For various reasons the band went through three name changes in four years. We were initially The Royal Teens [but] learned there was another vocal group called the Royal Teens. Then the Candy Company, and finally the Paper Fortress.

Royal Teens Symbols of Tyme, Indescribably Delicious at the Pendulum flyerFrom 1967 and on, and with many thanks to a local DJ, Casey Kasem, who managed us, we were one of the very rare South Bay pop bands that graduated from playing high school dances to the more lucrative and prestigious Hollywood scene. The other South Bay local band that cracked the Hollywood market were the Indescribably Delicious (who were also friends of ours. The Indescribably Delicious were like The Rolling Stones, while we were more like the Beatles).

We always played our originals in our live performances. We had an actual show, with routines and dialogue built into our sets. We also had revolving costume changes depending on the gig.

The venues where we were booked were the typically the hottest clubs in Hollywood, like the Whiskey A Go-Go, Pandora’s Box, the Hullabaloo (the club and the TV show), Arthur, the Roxy, Blue Law, and the Pendulum Club.

We also were fortunate enough to play at the Ice House and the Pasadena Civic Auditorium, both located in Pasadena. At the Pasadena Civic, we were the opening act for The Strawberry Alarm Clock, Electric Flag, Iron Butterfly, Standells, and The Merry-Go-Round.

Our center of the universe was Hollywood, and we felt we’d made it when the money started pouring in. In 1968-69 while my friends were working at McDonald’s and driving used VW Bugs, Sam had a new Corvette and I had a new Lotus Europa! We definitely were grateful for the good timing and fortune to have experienced so much, in such a great period of music.

The Candy Company, aka the Paper Fortress

We did appear on Felony Squad as a band called The Candy Company. We were on screen about 4 minutes but it took all day to film. Several years ago Dennis Cole, the star of Felony Squad, sent me a DVD of that episode which also guest starred Roddy McDowall who played the role of our manager. It was called “The Flip Side of Fear.” Cole’s beautiful wife at the time was Jacklyn Smith, and she was on the set that day. Like Roddy, and Dennis, she was very nice and talkative with us.

Again using the name, The Candy Company, we performed 2 songs on the Woody Woodbury Show. Woody was a very gracious host to us. I believe I have the ONLY existing recording of that performance. After we performed our songs we were invited to sit with the other talk show guests. I sat next to the late Red Foxx. He was outrageously funny.

Paper Fortress Promo ImageWe were recording our own original songs at several Hollywood studios, but nothing really hit. At one point we were then approached by VMC who introduced us to song writer, Tandyn Almer. Tandyn already had a huge hit with “Along Comes Mary” by The Association, and “Sail On Sailor”, which he co-wrote with Brian Wilson for The Beach Boys. Tandyn offered us two wonderful songs, “Butterfly High”, and “Sleepy Hollow People”.

Jim Whittle, vocalist and lead guitar, got married, which swiftly became the demise of the band. We were at our peak with recordings and gigs, but Jim didn’t think it’d make for a good marriage. He was undoubtedly right. Sadly, Jim passed away from a heart attack only five years after leaving the band. Jim taught me how to drive even before I had my license.

Sam Chirico, the lead vocalist and rhythm guitar has never stopped playing professionally. He lives in Las Vegas and gigs when the mood suits him. Sam often performs under the name, Sam Walker.

Joey Campo, Sam’s cousin, vocalist and bass player, stopped playing professionally. He recently retired as a Firefighter Captain.

Evan Zang of the Paper Fortress

I went off to UC Berkeley after the band broke up. While in college, I continued to play drums for several well established country singers in Northern California, and began writing songs on my own having taught myself to play piano and guitar. I’ve actually sold a handful of original tunes to be used for commercials.

In the 80’s I found myself on the ground floor of a start up Arizona based company called PET FOOD WAREHOUSE. Prior to taking our rapidly growing chain of stores public, we changed our name to PETsMART.

One of the Founders, Tye Smith, and I had previously worked together at another company. We became tight friends, especially since both of us had also been drummers in different California bands when we were teenagers. Playing music again was inevitable, and he and I, plus a local doctor, Tom Moss, formed a 3-piece combo band, humorously calling ourselves “The Barking Geezers.” Tye played drums, Tom manned the rhythm guitar, and I played bass guitar and piano.

“The Barking Geezers” unique (and then untested) niche was “live Karaoke,” and audience members could join us onstage to sing with a “real rock and roll band.” Initially I didn’t think the concept would get very far. I was dead wrong!

Apparently EVERYONE (especially after a few beers) wanted to experience their own 5 minutes of “rock and roll fame!” The concept was very well received and The Barking Geezers continued to gig in Arizona, California and Oregon for the next 14 years.

I still write and record in my home studio.

Our road manager, Al Taylor, passed away a few weeks ago. Al was a wonderful friend and asset to our band. He lived in Hermosa Beach.

Sam and I have remained in close touch, like brothers. I felt very fortunate to be a teenager in a band that had records playing on the radio, and very loyal fans.

Unreleased songs by the Royal Teens include “Run”, “The Beginning, and “Everybody Knows”. Evan added:

“Run” was the most popular song we played, and teenagers asked for it repeatedly. Jim Whittle, the lead guitarist, does some very nice riffs on “Run.”

Thank you to Evan Zang for contributing the photos and information for this article.

The Paper Fortress, from left: Joe Campo, Evan Zang, Sam Chirico, Jim Whittle

Paper Fortress’s 2nd appearance at the Alphabet Fairs at Devonshire Downs. March, 1968

Paper Fortress appearing with Hunger, Giant Crab and Wedge in Santa Maria, May 1968

Hex “You Cry and I’ll Laugh” on Hexx

Hex Hexx 45 You'll Laugh and I'll Cry“You Cry and I’ll Laugh” / “Doubt” by Hex was recorded in 1967 but only existed on acetate until someone pressed it to vinyl on Hexx HR-101. The vinyl is dark brown, translucent when held to light. The U-37756 in the dead wax indicates it was done in by United Record Pressing in 1995.

Both sides are fine hard rock, with some crushing lead guitar.

The band would be a complete mystery but luckily Preston Fong wrote a comment on Youtube:

This was recorded by our high school band (Hollywood High School). I think we recorded this as a demo for Dot Records. We did one other demo called “A Drop of Color” and another song on the flip side. I was the lead singer, George “Fidel” Bell on lead guitar and vocals … Mike Levy on drums, Mark Lewis (Rain – Beatles Tribute Band) on organ. Don’t remember who played bass on this … We were going to be developed by Dot Records at the time with producer Ray Ruff.  The company opted to record the group “Colors” something like that and we didn’t want to wait around to be developed by them.

Another person commented with the list of members: Fidel Bell (guitar, vocals), Mark Lewis (organ), Lee Imes (bass), Mike Levy (drums), and Oden Fong (lead vocals). Also that the band either had no name, or “their real name is Unknown (not Hex). Hex was the name of the album, and Hexx was the name of the record company.”

I’d like to know more about the band, and how the record eventually saw release.

The Sounds of Phase III – “Special Citation”

Sounds of Phase III KarMil 45 Special Citation

Here’s a mystery outfit, possibly a studio creation, from the Los Angeles area. With folk and pop strains, neither of their two singles is garage or rock, but each has some interesting moments.

I’m not sure of the order of release, but I have The Sounds of Phase III doing “Special Citation” and “La Bamba” on KarMil Records ‎631. Δ65687 in the runout dates it to February or March, 1967. The flip is “La Bamba”, arranged by Karlton, Miller and del Carmen, which interestingly has a Kavelin publishing credit.

I prefer “His Song” on their other single, Karmil Records presents The Sounds of PHASE THREE. Karl Karlton wrote “His Song”, backed with one I haven’t heard, “Lissy” (by Gooding-Nutting) produced by Gerry Nutting, on Karmil 2500. Publishing by Aim Co.

There is also a one-sided acetate I haven’t heard, The Sounds of Phase III from HR Recording Studios in Hollywood, with three songs, “Jamestown”, “Bill Bailey”, “So Fine”.

Sounds of Phase Three Karmil 45 His Song

Allan Breed with the Third Level – and Rick McClellan

Allan Breed with the Third Level Treswood 45 City Where I Once Lived

Allan Breed with the Third Level had only one release, “City Where I Once Lived” / “Many’s the Time”, both full pop productions with light psychedelic touches. By accident, some of the lyrics on “City Where I Once Lived” are incredibly apt to our situation in 2020:

Well here I am, in the city where I once lived,
But no one bothers to speak,
Attitude is simply oblique,
It’s not the same anymore.

Love once surrounded me here,
In the city where I once lived,
But the love I once knew is gone,
Only faces of misery drawn,
Puts the blame of it all.

Where are the people who once smiled and said hello,
Where did they go?

Have I stayed away too long or is there really something really wrong?

So as I walk, through the city where I once lived,
And see this disease I’ve seen,
That destroys the reasons for being,
I can’t understand.

Allan Breed notably co-wrote “Frozen Sunshine” with Rick McClellan, which in recent years has become a well-known hit with retro club DJs, especially in Europe. Breed and McClellan collaborated on a number of songs, not all of which seem to have been released. The first may have been “Goodbye My Friend”, registered in 1966.

Allan Breed with the Third Level Treswood 45 Many's the TimeIn May of 1968 they registered copyright on “City Where I Once Lived” and “Many’s the Time”. Allan Breed produced the songs with Steve Clark for release on their own label Treswood TW 101.

The following year, Lawrence Allen Breed and Rick McClellan wrote “Frozen Sunshine”, copyright registered in May of 1969. Breed and Mike Henderson (for Treswood Productions) produced that single on Ranwood R-849, and also his follow-up, “Redheaded Woman” / “2:30 in the Morning” for Quad Records QU 105, where Allan Breed was head of A&R.

Quad Records also reissued “Frozen Sunshine”, without the violins, and with a different B-side, “Julie Makes It Right”. A Cash Box notice from July, 1970 lists some other Quad releases and notes Al Perry was executive vice-president of Quad. An ad in Cash Box from the same month for Four Star / Stellar Music / BNP Music Publishing lists Alfred Perry and Fred Benson as VP, and has Allan Breeds name but without title.

Allan Breed Quad Records Cash Box July 18, 1970
Later copyrights by Breed and McClellan include “By the Light in Your Eyes”, “Here Comes the Sun” and “Who Taught You”. I’m not sure if these were recorded or released.

Allan Breed would go on to produce a few more records with Mike Henderson, including two singles of Sandy & Dick St. John on Congress, and two by CaShears on pbm Records. Also on pbm Records Breed produced Sidro’s Armada’s “Little Girl from Greenwood, Georgia”.

Steve Clark is likely the same person who partnered with Curt Boettcher in Our Productions (thanks for the tip Max Waller). Clark and Mike Henderson both worked on some Tommy Roe productions from this period.

Allan Breed Four Star Cash Box July 4, 1970
July 1970 publishing ad including writers R.B. Greaves, Dean Kay, Hal Blair, Arthur Hamilton, Kelly Gordon, Peter Daniels, Norma Green, Tad Suckling, Gloria Sklerov, Douglas Fir, Rick McClellan, Jerry Wright, Nick Alexander, Lala Schrifrin, Bob Simpson, Chuck Jones, Buzz Siler and Martin Kosins

Jim Weatherly “I’m Gonna Make It”

Jim Weatherly Cash Box March 5, 1965
Cash Box March 5, 1965
I have to thank Lee Bryant for tipping me on to Jim Weatherly’s stomping single, “I’m Gonna Make It” on 20th Century Fox 565.

Jim Weatherly 20th Century Fox 45 I'm Gonna Make ItJ.D. Lobue and Leland Russell wrote “I’m Gonna Make It”. Jim Weatherly wrote the B-side, the Elvis-sounding “Wise Men Never Speak”, which he copyrighted in April, 1964.

Lobue and Russell had a band with Jim since their days at the University of Mississippi, where Jim Weatherly was a star quarterback. After college they moved to Los Angeles to try to succeed in the music business.

On March 5, 1965, Cash Box announced “The grid star kicks off his disk career with a driving rocker”. It would be three years before any further releases, or any press would mention Jim Weatherly or his group, who would eventually be named the Gordion Knot.

In February, 1968, Cash Box reported the Gordian Knot had signed to Verve for four singles and an album. A short article in Record World in April listed the Gordian Knot’s members as: Pat Kincade, guitar; J.D. Lobue, organ; Leland Russell, bass; Dulin Lancaster, drums; and Jim Weatherly, piano. I am not sure if Pat Kincade and Dulin Lancaster also played on the 20th Century Fox single, but the article notes notes the band “have been working together for five years” and that John Babcock was their manager.

There were a number of songs copyrighted that do not seem to have been recorded and/or released:

Weatherly and Pat Kincade published “Just Another Day” in March, 1964.

In June of 1966, Jim Weatherly registered eight songs with a solo writing credit, none of which were on the Gordion Knot album, Tones: “I Can’t Be Hurt Any More”, “Mama, Your Daddy’s Come Home”, “The Morning After Rain”, “She Belongs to Yesterday”, “Sorrow’s Child”, “Turn Him Away”, “Waiting For the Day”, and “You Were Never Mine”, all published by Vivace Music.

The only song registered in June of 1966 that would show up on the Gordian Knot LP was “It’s Gonna Take a Lot” by Weatherly and Pat Kincade.

The Gordian Knot pursued a lighter pop direction on their two singles and album; “The Year of the Sun” (written by Leon Russell) is a good example of their sound. The flip, Jim Weatherly’s “If Only I Could Fly” is one of their more rocking songs.

In retrospect, “I’m Gonna Make It” is a very good single, and it’s surprising how little known it is. The single also seems to be rare now. I wonder if there are other recordings from the early days of the band that would show their development or directions they didn’t pursue.

Jim Weatherly of course would go on to have a long career as a hit songwriter and performer, but that is covered in depth elsewhere.

This is not the same Jim Weatherly who recorded with the Mozark Music Makers on the Mozark label of Springfield, Missouri.

Anyone have a photo of the group before they became the Gordion Knot?

Gordian Knot Record World April 20, 1968
Record World April 20, 1968

The Missing Links “I Cried Goodbye” on Rosco

Missing Links Rosco 45 I Cried GoodbyeThis group of Missing Links recorded on Rosco Records out of Hollywood. According to a paragraph that popped up on Wikipedia before being removed, the band’s members were Larry Duncan, Jim Stanley, Mike Swain and Danny DeLacey.

The controversy over that paragraph derives from whether the Missing Links backed Micky Dolenz for a brief time as Mickey and the One Nighters, at the instigation of Eddie Hodges. The Cool Cherry Cream site has the best summary of this crucial morsel of music history.

That site quotes Andrew Sandoval’s The Monkees: Day-By-Day, including that the Missing Links appeared at a spot called La Pitcher in Denver (anyone know more about this club?)

Regardless, the Missing Links did cut one great 45 without Micky, a cover of a recent Al Dowling song “Heartbreak Hill” b/w an original “I Cried Goodbye” on Rosco Records 418.

D. DeLacey and C. Stevens wrote “I Cried Goodbye” for Misslink Music, production through Rosco’s Chartmaker Productions, Inc. at N. Vine St. in Hollywood. I’m not sure who C. Stevens is.

Danny DeLacy Record Ramblings Cash Box, July 18, 1964The correct spelling of Danny DeLacey’s name is Danny DeLacy, at least that’s how it appears in a Cash Box artist directory and a very interesting item in the July 18, 1964 issue of Cash Box that describes him as an Australian and mentions his current DeVille Records single.

That single did see release on DeVille Records DE 118, but with the artist credited as “The One” through a paste-over label. It features “All the Time” and “You Got That Love”, both by Danny DeLacy and Jonny Baron for Charlin Music and Fabulous Music (ASCAP).

I haven’t heard either side – if you have audio files please contact me!

Production by Jay Colonna; he also receives production credit on a Danny Welton ‎single “Julie” / “Stroblights” from the movie “Girl in Gold Boots” (1968), one of the worst rated flicks on IMDB, and Elroy Peace’s funk 45 on Jo-Jo, “Whirlybird” / “Mama Sho-Nuff Is Psyche” (intriguing title!)

At some point, Danny DeLacy returned to Australia. When bassist Kim Lynch left the Australian group The Loved Ones in 1967, Rob Lovett switched to bass and Danny DeLacy joined on lead guitar. Interestingly, Australian rock history site Miles Ago describes DeLacy as an American!

Elroy Peace also had a number of Australian releases, I wonder if there’s some connection.

One other intriguing side-note: Rosco Records 417, just before the Missing Links features the Nova-Tones “Walk on the Surf Side”, a song by Bill Lincoln and Mike Dood for Beaver Music. Likely this is the same Bill Lincoln who recorded with the Bushmen, the War-Babies and Euphoria! I haven’t heard the Nova-Tones single either, so if anyone has a copy please let me know.

The Chevels on Gass: Pat & Lolly Vegas

Chevels Gass 45 HendersonvilleThe Chevels released only one single that I know of, but it’s a double-sided instrumental winner. It’s not an unknown single, but it is one of many featuring Pat and Lolly Vegas, who deserve a full singles discography of their own.

Lolly Vegas wrote “Hendersonville”, a fine guitar workout on blues changes. It’s difficult to know which Hendersonville the title refers to, the suburb of Nashville along the Cumberland River is a possibility.

Chevels Gass 45 Hootenanny Ho-DownPat Vegas and E. Engber wrote “Hootenanny Ho-Down”. Engber is actually Elliot Ingber, who played rhythm guitar with the Gamblers of “Moon Dawg!” / “LSD-25” fame, joined the Mothers of Invention and played on Freak Out, started the Fraternity of Man, and joined Captain Beefheart on The Spotlight Kid, among many other credits.

Released on Gass GS-1001, the October 19, 1963 issue of Cash Box reviewed the single favorably, listing “Hootenanny Ho-Down” as the top side.

Production was by Gram – Fisher, possibly J. Fisher, but I haven’t come across these names before to my recollection.

The only other Gass single, by the Travelers, was produced by Leo Kulka, who would move to San Francisco and found Golden State Recorders in 1964.

Brook Hall “I Had a Dream” on Target

Brook Hall Target 45 I Had a DreamHere’s a relatively unknown single by female vocalist Brook Hall. The A-side has the solid hippie-psych of “I Had a Dream”, the flip “Coming of the Sun” is a ballad.

Brook Hall and P. Kasper wrote “I Had a Dream”, and Phil Kasper wrote “Coming of the Sun”, both show publishing Target Music (BMI).

Produced by Terry Munford, this was released on the one-off Target label of Hollywood as Target T-1010 in March of 1970.

I can’t find any leads on the people who made this record. I did find “I Had a Dream the Other Day” registered to Guy Ditmars and Brook Hall, Vail Pub. Corp, in November 1969.