The Vandals are possibly from Georgia but I haven’t seen any definite info on the band.
“Your Love Will Die” is a speedy, chaotic and excellent punk song, with ringing guitar, busy drumming, and shouted vocals not quite in unison. One guitarist plays both rhythm and lead. “Mary” is a fine ballad, there’s a clip on youtube but it has a skip in it at the end of the guitar solo.
The only member’s name I have is Steve Randall, who wrote both sides for Boldlad Music, BMI but I can’t find a copyright notice for these songs.
The Atlanta Vibrations have the first single on the short-lived Sim-Cor label out of Atlanta, Georgia. “If You Let Me Love You” / “My Hometown”.
Woody Turner – lead vocals, guitar Spencer Kirkpatrick – guitar Bob Giannoni – bass Charles Lunsford – guitar Ricky Wafford – drums, replaced by Tom Sims
Both songs of their 45 are good but I find “If You Let Me Love You” the most catchy and well done. Woody Turner wrote both songs, published, as all on Sim-Cor by Bold Lad Music, BMI.
I haven’t found out much about the band yet, except that they had a spot opening for the Beatles during their 1965 tour. The band continued with a different lineup into the late ’60s.
After leaving the Atlanta Vibrations, Woody Turner joined the Apolloes for a period, but I don’t believe he’s singing on their singles. Spencer Kirkpatrick would later join Hydra, who had two LPs on Capricorn and one on Polydor in the ’70s.
Photos and much of the info on the Atlanta Vibrations came from the Atlanta Bands Facebook page.
Sim-Cor discography (any help with this would be appreciated)
Sim-Cor 101 – The Atlanta Vibrations – “If You Let Me Love You” / “My Hometown” (NRC #385, April 1966) Sim-Cor 45-102 – Robby – “People Ain’t Going Nowhere” / “I Don’t Want to Leave” (both by Robby Barnes for Bold Ladd, BMI, NRC #405, 1966) Sim-Cor 492 – Ann & Anne – “I Met a Man” (Ann Ford) / “Beyond the Sea” (NRC #492, 1966) Sim-Cor 45-003 – Imposters – When You Say (Kenneth Gowan) / Please Please (NRC #543, 1967)
The NRC numbers at the top of each label indicate Sim-Cor was one of the many Georgia labels that pressed at the National Recording Corporation’s pressing plant.
Buddy’s Buddies came from Macon, Georgia, home to Otis Redding and Little Richard, but a town that had very little ’60s band action. I know of the Malibus of “I Want You to Know” / “I’ve Gotta Go” on PJ came from nearby Fort Valley, GA but that’s about it.
Buddy’s Buddies included:
Buddy Greene – lead vocals David Gory – lead guitar Steve Kent – drums Any Waits Phillip Parker
They were very young, as you can see from the photo and hear on their record. I really like “Tell Me What I See” with its solid back beat and bass line, repetitive piano and Buddy’s shouts of “mercy me!” The flip “I Love My Baby” is a ballad, with a plaintive vocal from Buddy.
Buddy Greene wrote both sides of their only release, on the Macon label from July of 1965, published by Macon Music BMI. The only other release on Macon that I know of is Phil Gandy singing “Hula Baby” / “Rainbows End” both by Phil Skelton for Cedarwood Music BMI from circa 1964.
Buddy Greene went on to a long career in music. See his website, www.buddygreene.com, the source of the info and photo for this post.
I’ve tried to find some information about Jerry Ashley and the Dynamics Unlimited, but have turned up empty so far. They recorded for two related Atlanta, Georgia labels, Rose and Gaye.
The Dynamics Unlimited released one 45 of their own on the Rose Records label, the melancholy “The Tide Rises” b/w “Baby Let’s Wait” on Rose 2890. The labels do not list composer credits, but publishing is through Margie Music, BMI. The RCA custom press # U4KM-4910/1 points to a 1967 date.
The band then backed Jerry Ashley for his single on Rose 2091, “Don’t Tell Me Why” / “Come to Me”, two originals by Ashley also published by Margie Music. I’ve yet to hear either song.
Jerry Ashley had another single on Gaye Records 3044 from late ’67 or 1968, an upbeat party record with sing-along vocals, shouts and screams called “Come On”, backed with an instrumental version of the same song. This too was a Jerry Ashley composition for Margie Music and though the PO Box on the label is slightly different, there’s a striking similarity to the Rose label design.
I’d appreciate any additional info about the Dynamics Unlimited, Jerry Ashley or the Rose or Gaye Records labels.
Thank you to Mark Taylor for the scans of the Jerry Ashley 45s on Rose and Gaye.
There’s no denying the power of the Mondells 45 on Gaye, “I Got a Feeling” / “You’ll Never Come Back to Stay”. Both songs have thick distortion on the guitar, nice organ swirls, pounding drums, and good lead and backing vocals.
The code U4KM-5024 denotes an RCA custom pressing from the first half of 1967. The scan I originally posted showed no song writing credits on the label, but as Mike Markesich pointed out in his comment below, that scan was doctored to keep the writer’s name secret until the band could be found. From the scans I now have, Roy Farmer Jr. wrote “I Got a Feeling” and Benny Thomas wrote “You’ll Never Come Back to Stay”. Both sides are published by Margie Music, BMI, and listed as A Gaye Talent Production.
The group itself is still something of a mystery to me. I did find out that the Mondels, like Red Beard & the Pirates, came from the rural hills between Blue Ridge, Georgia (Morganton, Mineral Bluff, Epworth) and Copperhill, Tennessee / McCaysville, GA, about two hours drive north of the studio in Decatur, GA, just east of Atlanta. From the same area came The Blazers, who had a self-produced LP On Fire.
An old auction listing gives a couple names for Red Beard & the Pirates: Randy Queen and “Sea Dog”. The seller also mentioned two members of the Mondels: “Billy Suites (died from auto accident) and Lamar Harper (died a couple of years ago from cancer). Actually the name ‘Tootie’ written on the record is my sister-in-law and she dated Lamar.” I contacted the seller for more info, but I can’t confirm if these names are accurate.
The Mondels is one of the rarest and best 45s on the Gaye label.
Mike Dugo interviewed a member of the Penetrations who have a record on Gaye, “A Different Kind of Man” / “I Got A Girl” but they were from Belton, South Carolina, to the north east of Atlanta.
Thank you to Mike Markesich for the scans and info on the band. Transfers from Teenage Shutdown vol. 13.
Johnny Brooks owned the Gaye label, based in Atlanta, Georgia, and named it after his wife. The label started with pop and soon had soul and pop releases mixed in with consistently strong garage singles by Little Phil & the Night Shadows, the Mondels, the Blades, the Penetrations and Red Beard & the Pirates. Some numbers have a prefix, usually ASR.
Troy Shondell recorded the Chips Moman song “This Time” for Goldcrest in 1961, released nationally by Liberty. I don’t know who Troy Shundell is, but his version on Gaye (#2010 from circa 1965) is a different recording than the Goldcrest/Liberty issue, and is likely a different singer altogether.
Any help with this discography would be appreciated
114 – Ken Springer – “You’re Faithful Anna” / “Lovely Love” (with picture sleeve) 210 – J.T. Ratcliffe With Shirley & The Swamp Bugs – “The Beatle Bug” / “Bill’s Friend” 212 – George Hughley – “Do The Beatle” / “My Love Is True” 368 – Paula Grimes – “Zing Went The Strings Of My Heart” / “Fancy Love Words” (need confirmation on this one) 2002 – Bobby & The Belmonts – “Drum Dog” / “He’s Home From College” (1964) 2004 – Beverly Taylor – “Sweeter Than Sugar” / “I Believe in You” 2009 – Ken Springer – “Like A Child” / “Maybe” 2010 – Troy Shundell – “This Time” / “I Catch Myself Crying” 2018 – Frankie And The Play Boys featuring Arnold Sanford – “Two To One” / “Crying Towel” 3019 – The Blades – “I’ll Shead No Tear” (sic) / “Again” 3020 – Joe Dickey – “April In Atlanta” / “Walk With Me (Into Paradise)” 3027 – The Penetrations – “A Different Kind of Man” / “I Got A Girl” 3031 – Little Phil & the Night Shadows – “Sixty Second Swinger” / “In the Air” 3031 – Milford Fagg with the Penetrations – “Do You Still Remember Me” / “Mr. Ivory” 3032 – The Mondels – “You’ll Never Come Back To Stay” / “I Got A Feeling” 3033 – Joe Brown – “It’s All Over” / “Promise Me” 3034 – Ted Ford – “You Don’t Love Me” / “Hold On To the Key” 3041 – C. J. DeLong – “Goodbye Dreams” / “I Don’t See Me In Your Eyes Anymore” 3043 – Red Beard & the Pirates – “Go On Leave” / “Don’t Be A Loser” 3044 – Jerry Ashley – “Come On” / “Come On” (instrumental backing track) 3045 – The Blades – “Moving Out” / “I Need You” 3047 – Sheppard Brothers – “Hold Me Closer” / “Mess Up My Mind” 5001 – Johnny Jenkins – “Soul Boo-Ga-Loo” / “Ring-O-Ling” 5002 – Lee Mays & the Zonics – “Writing This Letter” / “Nothing Means Nothing To You” 5005 – Ernie Wheelwright – Begging You Back / “In Your Arms” 5006 – Automations – “World of Make Believe” / “Going Out of My Mind” 6001 – Betty Logan – “A Lot To Learn” / The Logan Sisters – “Flop Mop”
Gaye discography compiled from Georgia Soul with additions and corrections from Mike Markesich, Bob of Dead Wax, Drunken Hobo and Chas Kit.
Sam Camp writes this tribute to Lamar Collins, bassist and vocalist with the Chashers and the Avalons:
The first time I met Lamar Collins was in 1963 at Bell’s Drive Inn in Toccoa, Georgia. I was a curb hop there at the time and just happened to walk to his car to take his order. Lamar asked was I the guy that played saxophone and I shyly replied, ‘yes’. I was barely 14 years old and Lamar was in his very early 20s. We started a conversation about music and the rest is history.
Lamar was already jamming with several musicians from Hartwell, Georgia – David Conway, Calvin Coker, Larry Mayo, and a saxophone player whose name I do not recall. Little did I know at the time, I would soon replace the nameless saxophone player. We began to practice at the house where Lamar and his wife Shirley were living on Prather Bridge Road. Occasionally, we would travel to Hartwell to practice. After joining the band, I recall playing at Lake Rabun Georgia for a party and making near nothing and then driving the car back to Toccoa. This band, the name which I do not recall, played a couple more meaningless gigs and soon fizzled out.
Calvin Coker continued to drive to Toccoa to keep the enthusiasm going, but something was obviously missing. Two weekends later, Lamar brought in another musician named Jimmy Sipes. I could tell right away that Sipes was a seasoned musician and that he and Lamar had a lot in common. When the four of us practiced I could sense that there was a little competition between Coker and Sipes and, soon after, Coker did not return to any more practices. Sipes was to play keyboard, “Wurlitzer piano”, and Lamar quickly bought a bass guitar and we continued to practice. The group was not complete without a drummer and guitar player. Somehow Ronnie Crunkleton (drums) and Roy Thompson (guitar) made their way into the band.
After several months of rehearsing, we started sounding like a real rock and roll band. We called ourselves “The Avalons”. We were ready to gig. I recall our first gig at the ELKS Club in Toccoa, Georgia where we had to stretch 33 songs into 4 sets, but all went well. They wanted us to come back!
We began playing regularly in Northeast Georgia and South Carolina. Lamar Collins and Jimmy Sipes could give The Righteous Brothers a run for their money singing, “You’ve Lost That Loving Feeling”. We were popular for this quality of vocal harmony and on occasion we were labeled as the Righteous Brothers of Georgia.
Lamar was very popular among the ladies with his blond hair, blues eyes, and strong tenor voice. He was endowed with a gift that enabled him to sing straight to your heart and make you remember that feeling the next day. Without question, Lamar was the driving force of the band and well respected among his fellow musicians.
The Avalons gained much popularity as the house band at a local teen club called “The Chicken Shack” located in Seneca, South Carolina. It was not uncommon to pack a thousand fans in on Saturday night where our records and pictures were sold.
I remember our opening song, an instrumental of “You Can’t Sit Down”, by The Dovells on which I played the sax. As its title suggests, it’s an amazing dance number that would heat up any dance floor. This was our signature song and always got the crowd going. They would start to scream the minute we began to play.
During the band’s popularity, we opened for several national acts including such names as The Swinging Medallions, Billy Joe Royal, Sam the Sham and the Pharaohs, Keith, and The Impressions.
Lamar was the lead singer of the band and you can see him in the picture inside the Chicken Shack playing his red Gibson bass guitar. Lamar loved to perform. Folks that came to The Chicken Shack in the late sixties will certainly remember this setting.
The Avalons’s “Come Back Little Girl” was No 1 at WHYZ radio station in Greenville South Carolina. The group brushed closely to fame, but due to conflicts of interest, they sadly chose to split in 1968.
After a period of time, everyone went their separate ways. Soon after, Lamar and Roy Thompson collaborated and put their heart and soul into two songs “The Wind” and “Without My Girl”.
Lamar was a “star” that shined from Toccoa, Georgia. He was loved and respected by many for his musical abilities, but those who knew him closely could tell you what a kind and gentle heart he possessed as well. It was this that shone through in his character. Lamar was responsible for getting me started in my music career and I still play today. During the years I knew him, the man ate, slept and lived for his music. He inspired a surprising number of us to continue in the gift of music God had placed in each of our souls, and for that I will always be grateful.
Lamar Collins gave birth to The Avalons. Essentially, Lamar Collins was The Avalons.
Lamar passed away in 1982 of a brain tumor. To say that I miss him would be an understatement. I think of him often and can testify of many others who do the same.
This is written in tribute to my dear friend, Lamar Collins.
A special thank you to Jeanette Bleckley for the additional photos of Lamar.
Lamar Collins, photo courtesy Sam Camp
Mary writes, “My brother, the late Mike Stephens and Lamar started a band around 1958-1959, and it was called the Sattelites. They mainly played for school dances.”
Some time after the band began performing, Tommy Owens, a studio drummer from Greenville, South Carolina, joined the band.
The group appeared roughly from 1963 thru 1967 in Georgia and South Carolina. The Avalons gained much popularity as the house band at a local teen club called The Chicken Shack located in Seneca, South Carolina. It was not uncommon to pack a thousand fans in on Saturday night where records and pictures were sold.
During the band’s popularity, we opened for several national acts including such names as The Swinging Medallions, Billy Joe Royal, Sam the Sham and the Pharohs, Keith, and The Impressions.
The Avalons recorded in the late sixties and the songs were composed by Collins and Thompson. The recordings were done at Arthur Smith studios in Charlotte, North Carolina and Mark V Studios in Greenville, South Carolina.
The two songs, “Come Back Little Girl” and “Mad Man’s Fate”, received airtime on many southeastern radio stations. “Mad Man’s Fate” got the most air time and was the song that was #1 at WHYZ, a local radio station in Greenville, South Carolina. The record also received recognition in the Billboard Top 100 magazine.
Our manager at the time was Tommy Scott. He is still living and is some character. He has a book out, ‘Snake Oil, Superstars and Tommy Scott”. There is a write-up about our band and a very good picture on page 400. Tommy Scott knew a lot of people at the time and got us in with Arthur Smith.
James Brown “The Godfather of Soul” made a personal visit to Toccoa, where he once lived, to discuss the purchase of one of the songs. There were talks of the Avalons touring with James Brown as his opening act, but this did not materialize.
Q.: Why is the name on the record and photo the Avlons instead of the Avalons? Which name did you go by when you played live?
We went by The Avalons. There was another band out there called The Avalons. At the time of our recording, we may have not been able to spell it A.V.A.L.O.N.S, it might have been a legal thing.
Thank you to Sam Camp for sharing his history of the Avalons and for sending the photos seen here. Be sure to read about Sam’s next band, the Voxmen. Special thanks to Ben and Rich for label scans.