Category Archives: US

Miramar Records discography

See Miramar 127 for a repeat of this song

Miramar Records of Hollywood, famous for its releases by the Road Runners and the Dovers.

Tony Cary produced all the Dovers 45s as well as the Road Runners, Jimmy Burton, Nick Hoffman and Fellowship records. He went on to produce the Alexander’s Timeless Bloozband LP on UNI, released 1968 and Charles Lamont’s solo LP from 1969, A Legend In His Own Time. Mike Markesich tells me Tony’s real name was Tony Luton, whose family was involved in radio or TV in Santa Barbara.

Tony Cary had two singles on Miramar. The first, “Dream World” / “One of These Days” was from August, 1965 (Monarch delta # 55804). Both songs are by Jones-Osborn and published by Alborn Music. The label reads “Produced by Miramar Prod.”

Tony Cary Miramar 45 She Belongs to MeAs far as Tony’s vocal talents go, I think he eventually took his own song’s advice to “stop living in a dream world”! Still, one can’t help but admire the impressive series of singles he produced on this label. His second is a countrified version of “She Belongs to Me” that was only released as a one-sided white label promo.

Alborn is the other producer name on many of these 45s. Alborn seems to be a mix of Alton Leo Jones (Al Jones) and Joe Osborn. They wrote a number of songs together, the most notable of which may be “Johnny Come Lately” for Billie Jean Horton. Joe Osborn also wrote with Dorsey Burnette and Dale Hawkins.

Other Miramar records have “a C/A production” on the label. The publishing info is usually on of these three: Alborn Music BMI, Carjone Music BMI, Fabyan Music ASCAP. Labels read “Miramar Records of Hollywood” up through the Dovers’ “The Third Eye”.

Jimmy Burton is of course James Burton, and Jimmy’s Blues” is an excellent piece of fuzzy riffing. It’s possible that’s him playing the lead guitar on Tony Cary’s “One of These Days”.

The Spellbinders version of “Casting My Spell” features a rough lead vocal with clipped lead guitar lines. I haven’t heard “To Take a Heart” yet. That 45 was produced by Joe Osborn, and this is not the same Spellbinders who recorded for Columbia (“Chain Reaction”).

Incomplete discography
(any help would be appreciated!)

45s:

Note that releases 101 and 103 come from the end of Miramar’s run, in 1967 or later.

Miramar 107 – Tony Cary – “Dream World” / “One of These Days” (August 1965)
Miramar 108 – Jimmy Burton – “Jimmy’s Blues” (J. Burton, M. Jones, J. Osborn) / “Love Lost” (James Burton) (a Cary-Alborn Production)
Miramar 109 – Memphis Men – “Act Naturally” / “Oh What A Night” (Jones-Osborn) (Produced by AFC Enterprises Inc.)
Miramar 110 – Glenn and the Good Guys – “Party a Go Go” (Burton, Jones, Osborn) / “Only In My Heart” (J. Seals, G. Adams)

Miramar 112 – Tony Cary – “She Belongs To Me” (one-sided promo)

Miramar 115 – The Spellbinders – “Casting My Spell” / “To Take a Heart” (produced by Joe Osborn)

The Road Runners’ first single

The following have the guitar label design:

Miramar 116 – Road Runners – “I’ll Make It Up To You” / “Take Me” (released in Aug. ’65, also released on Reprise 0418, Sept. ’65)
Miramar 117 – ?
Miramar 118 – Dovers – “She’s Gone” / “What Am I Going To Do?” (Sept. 1965)
Miramar 119 – Nick Hoffman – “King of The Moon” / “Blind and Leaving Blues” (Nov. 1965)
Miramar 120 – ?
Miramar 121 – Dovers – “I Could Be Happy” / “People Ask Me Why” (Nov, 1965, also released on Reprise 0439)
Miramar 122 – ?
Miramar 123 – Dovers – “The Third Eye” / “Your Love” (April 1966)

Another great song by Timmy Granada

Miramar 124 – Dovers – “She’s Not Just Anybody” / “About Me” (May 1966) (plain label without guitar logo)
I’ve seen an acetate demo of this 45 from Western Recorders, 6000 Sunset Boulevard, Hollywood 28

The following have the winged angel type logo:

Miramar 125 – Fellowship – “Just Like A Woman” / “Palace of the King” (Sept. 1966)
Miramar 126 – ?
Miramar 127 – Miramar Soul Band – “Mr. Tambourine Man” / Friends of the Miramar Soul Band – “Party a Go Go” (this side has master #111-B)
Miramar 128 – Sonny Firmature – “Love Lost” / “Mr. Tambourine Man” (could this be the same version of Mr. Tambourine Man as above by the Miramar Soul Band?)
Miramar 129 – ?
Miramar 130 – Zebra – “Helter-Skelter” / “Wasted” (produced by Fabyan Enterprises, 1969 or later)

Miramar 101 – Alexander’s Timeless Bloozband – “Horn Song” / “Love So Strong (Guitar Song)” (Charles Lamont, A&R by Tony Cary & Fritz Ashauer) 1967
Max Waller writes, “This is the same pairing that would appear on their 1st 45 for UNI (in December 1967) so, despite the number, came after the other Miramar 45s.”

Miramar 103 – Charles Lamont – “Poems of Carole Ann” / “Maybe Baby” (soul, also a later release)

LPs:

Miramar 1002 – Sonny Firmature – Love Lost (blue winged logo)

Sonny Firmature was a tenor saxophonist from Omaha, NE, who played with Harry James.

Ron Roman and The Livin' End Shidigogo Records 45 Won't Have A Merry Little XmasNick Hoffman had another 45 produced by Tony Cary, “Santa Claus Is Back in Town” / “Christmas Party” on Roman Records 101, issued on half-green half-red vinyl. There also seems to be a connection to a 45 on Shindigogo Records 777 by Ron Roman and the Livin’ End with a song written by Steve Hoffman (any relation to Nick Hoffman?) “Won’t Have a Merry Little Xmas” b/w “A Hard Rain’s Gonna Fall”. The address on this one is 6201 Santa Monica Blvd., Hollywood. I don’t know of any other releases on Shindigogo. I’d like to know more about Ron Roman, he had a 1963 release on Daani “Tell Me” (Kenny Williams) / “Love of My Life” (Dave Aerni and Frank Zappa).

See the page on the Fellowship and the one on Zebra for more info on those bands.

“Party a Go Go” by Glenn & the Good Guys shows up again (or a part B, I’m not sure yet) on the Friends of the Miramar Soul Band on Miramar 127. More on that release including sound clips can be found on this page of my site.

I still need good scans and transfers of the 45s by the Memphis Men, Tony Cary’s “She Belongs to Me”, Nick Hoffman’s “Blind and Leaving Blues” and Glenn & the Good Guys “Only In My Heart”. I also need scans of the Sonny Firmature and Alexander’s Timeless Bloozband 45s. If you can help with any of these, please contact me.

I notice as of September 2012 the Spellbinders has been bootlegged in a nearly identical reproduction.

Thank you to Jason Sweitzer for help with the discography and Tony Cary info. Thanks to Todd, Dudley, Mike Markesich and Max Waller for additions to the discography. Thanks to John Hagelston and Mikael for transfers of the Tony Cary and Jimmy Burton 45s, respectively.

Soulbody

Here’s a 45 by a group called Soulbody that I’m curious about. I’m a little skeptical too. I don’t own a copy, but was alerted to this by Mike Hadenfeldt who found one with an address label from a suburb of Los Angeles. Mike reports the following info on the labels:

Vintage Records (A Chess Recording) WJZ 51147
“I See You Crying” / “Then Came The Winter”
Both songs written by Bill Zurowski
Both sides have a date of 1966 under “BMI”

Deadwax info:

“I See You Crying”: F1191 WJZ 51147-2 (no dashes [just spaces] between groups of digits except the last one)

“Then Came The Winter”: F1190-WJZ-51477-1 (dashes between all groups of digits)

Band member Bill Zurowski put the video on Youtube (listing the band name as two words, “Soul Body”) and gave me some background on the band:

We were a band made up of Milwaukee and Chicago musicians in the mid 60’s. We recorded 2 songs at Chess Records in Nov 1966. We recorded in the historic studio where all the hits of the Chess artist were recorded, Chuck Berry, Bo Diddley, Muddy Water, Howlin Wolf, Little Walter and Willie Dixon etc. Doug Brand was the engineer. Doug was Chess’s main engineer. We used Fender black faced amps and a Gibson fuzz tone (that’s what Richards used on Satisfaction); my guitar was an ES 335.

I asked Bill if the band ever had their original tape or demo pressed to 7″ 45 vinyl, but have not heard from him yet.

The song sounds like a ’60s recording, but I’m almost certain this is not a ’60s pressing. The fonts on the label point to a graphic style from a later period, and the label name “Vintage” also suggests a later issue. Not to mention a stereo pressing for a private 45 would be extreme unlikely in 1966. Mike Markesich suggested the five digit number code could be a 70s Universal pressing.

Also, despite the labels saying “BMI” and “1966”, Mike Markesich could not find a copyright listing for the writer or song titles from 1964-1972.

Has anyone else seen a copy of this 45 with the Vintage labels? I would like to have confirmation that these songs were actually pressed to vinyl, and some better idea of when.

Baron Thomas and the Blue Crystals

The Blue Crystals with Baron Thomas
The second version of the Blue Crystals, with vocalist Baron Thomas from left: Douglas Maas, George Anderson, Baron Thomas (front center), Don Harris and Don Hite

Baron Thomas and the Blue Crystals Courier 45 TensionBaron Thomas & the Blue Crystal’s “Tension” is a song that I never get tired of. The bass gives the song a great propulsion, the drumming sounds fantastic with all the reverb on it, and Baron Thomas’ vocals cut through the hiss of the ride cymbal and the compression of the recording. The two guitars have distinct sounds and roles in the song, and everything comes together so nicely on the chorus, as the finger-picked rhythm switches to slashing chords.

I started looking into the story of the band and found band leader George Anderson’s website, which features a history of the group written by George Gell, which I’ll summarize here.

The Blue Crystals came from Bowling Green, Ohio. They had been the Citations until a new manager, James Farringer had the idea to spray their hair blue and change their name to the Blue Crystals in 1964. The blue hair didn’t last, but the name stuck and they would remain the Blue Crystals for the next four years.

The band at this time were Joe Dill (lead vocals), George Anderson (lead guitar), Don Hite (rhythm guitar), Roger Rauch (bass) and Don Harris (drums). They cut their first record in 1965, “Be Bop a Lula” / ” Hey Baby” at Courier Studios in Fremont, owned by Bob Brown.

By 1966 Joe Dill and Roger Rauch had left, to be replaced by Doug Mass on bass and Byron Thomas, from Toledo, as new lead vocalist.

They went back to Courier in late ’66, recording two originals by George Anderson, a ballad “We’ll Be Thru For Ever” b/w “Tension,” “inspired by a certain girl friend from that time” says George. The band pressed 1,000 copies in January, 1967, selling most of them.

Later that year Don Hite switched to bass after Doug Mass left the band and Dave Brown came in on keyboards and sax. The group continued until the draft broke them up in 1968.

George Anderson continued in music, playing part-time in bands, giving lessons on guitar and performing solo with MIDI backing.

Thank you to Mark Taylor for the great transfer and scan of his autographed copy of the 45. Special thanks to George Anderson for the scans of the clippings and photo.

Blue Crystals at the Metropole
The original lineup of the Blue Crystals at the Metropole, with vocalist Joe Dill and bassist Roger Rauch
Blue Crystals band: Don Harris, Roger Rauch, Joe Dill, Don Hite and George Anderson
left to right, top: Don Harris, Roger Rauch and Joe Dill; bottom: Don Hite and George Anderson

The What’s New

High and Dry with The Yachtsmen Buena VistaThe What’s New have always fascinated record collectors: mistakenly listed as a Florida band, they released two EPs in France but nothing in the U.S.

Spike Priggen found some great videos of the What’s New performing on French TV and suggested we collaborate on a post, which I put up at Bedazzled last month.

Their story starts with the Yachtsmen, a folk group founded by students at Long Beach City College in 1959. The Yachtsmen became regulars at Disneyland in Anaheim, releasing an LP on Disney’s Buena Vista label (BV-3310), High and Dry with The Yachtsmen in 1961.

On the LP the group were Carl Berg (vocals, guitar), Ray Jordan (vocals, banjo, string bass), Jay Huling (aka Jay Hulingpart, vocals, guitar, bongos), and Bill Reed (vocals, bass). Other members included Kevin Shipman and Mickey Elley.

The Yachtsmen continued performing at Disneyland for the next several years, appearing on another LP, Jack Linkeletter Presents a Folk Festival.

Kevin Shipman created a video history of the Yachtsmen and What’s New with photos and music.

Bud Hedrick and Colin Scot at Coke Corner
Bud Hedrick and Colin Scot at Coke Corner, photo courtesy Bud Hedrick.

Meanwhile Scot Thistlewaite (stage name Colin Scot) had been playing banjo and guitar with a ragtime duo called Bud and Scotty at Coke Corner in Disneyland, with Bud Hedrick on piano.

Scot was born in the UK, moved to Canada in the late ’50s where he went to Sir Adam Beck Collegiate High School in London, Ontario, then moved to California where he attended Cal State University at Long Beach.

In October, 1965, French chanteuse Line Renaud and her husband Louis “Loulou” Gasté saw the Yatchsmen at Disneyland and brought the group over to Paris in January, 1966.

Kevin Shipman wrote to me about how Scot joined the group:

Scotty was a friend of our folk group The Yachtsmen when we were all at Disneyland. As you have noted in your piece, he and Bud Hedrick played ragtime at Coke Corner.

Line Renaud Pathe EPSome time in December 1965, Line Renaud, the star of the Casino de Paris in Las Vegas, toured Disneyland and saw us performing. Shortly after that we received a call from her representative saying that she wanted us to come to Paris to be second billing in her new show at the original Casino de Paris. We talked about it and decided it would be a great opportunity to live in an amazing place and to re-charge our creative batteries.

One of our guys was finishing up his master’s degree and had just been engaged to be married and he declined to make the trip. We immediately went to Scotty to see if he might be interested. He jumped a foot off the ground and yelled “YES”. Scot had just been called up by the draft board and there was no way he could have been a soldier. He was barely an American having arrived from Canada only a few years earlier and he was a committed pacifist. This would be his way out of that and into a new and exciting chapter.

Scotty was the perfect addition to our group. He spoke French with near fluency – something we were not aware of when we approached him – and he brought a lot of energy and heart to what was to become a folk-rock band. We wanted to break out of the folk music constraints and do original music with power and finesse. All the members were strong musicians with great harmony sensibilities and we could all sing solo. I like to think that we were predecessors of bands like Crosby, Stills and Nash and the Eagles.

The band changed their name to the What’s New though they still look very collegiate performing “Des mots d’amor” with Line Renaud on French TV. [Unfortunately all the excellent videos of the band on French TV have been taken down from Youtube since I first posted this article.]

The What's New EP
The What’s New: from left: Jay Huling, Colin Scot, Kevin Shipman and Carl Berg

They recorded their first EP in July, ’66 at Gasté’s own studio in Paris, scoring a French hit with a single version of Gordon Lightfoot’s “Early Morning Rain”. Their first EP also has their version of Tom Paxton’s “The Last Thing on My Mind” and two songs by Randy Sparks of the New Christy Minstrels, “Huckleberry Finn” and “Driving Wheels”.

Kevin Shipman told me:

We had a hit in France (number one or two depending on who you talk to) with “Early Morning Rain” but we did not have the management we needed. Line Renaud’s husband Lou Lou Gaste liked to think that he was performing those tasks and fended off other true management people who approached him.

One of our best moments was one of our last. We played the premiere music venue in Paris – the Olympia – opening for Michel Polnareff and the Beach Boys [October 25, 1966]. Everyone one who saw the show said that we blew the Beach Boys off the stage. They had great hits but they were weak in live performance.

What's New second EP Up So High
Their second EP

Their second EP showcases four original songs by Colin Scot, putting a sharp folk-rock sound behind Scot’s plaintive lead vocal and the group’s harmonies. It includes the now-famous “Up So High” (“Got no use for LSD, every time you look at me I’m up so high”) and the excellent “Get Away” which moves from dreamy verse to tough chorus.

The What’s New disbanded in early 1967.

Kevin Shipman explains:

I had decided that I needed to go back and finish my college studies. I was one year away from graduation and I felt that goal slipping away after a year and a half in Paris. Another member was having marital troubles and his wife insisted on returning to the US and her church group. So, we reluctantly parted ways as friends having come very close to the prize but not at the right time.

Scot could not go back to the US having eluded the military and chose to go to England where the music scene was far more vibrant than in France.

Colin Scot became part owner of a nightclub called Kahuna’s Cave in Cala Mayor, Palma de Majorca, and toured the folk circuit in the UK in the late ’60s. In the 1970s he released LPs on United Artists and Warner Bros, with a final single “Mandolin Man” / “Boris” on RCA in 1977. He died in Amsterdam in 1999.

Kevin Shipman:

My wife and I remained close to Scotty over the years and visited him twice in Amsterdam. He came twice to our home at Lake Tahoe and we found all our visits to be both rich in friendship and yet agonizing witnessing his descent in ever-deeper and more virulent alcoholism. I never saw him pass out which was amazing considering how much he drank.

Our last visit from him was in winter of 1999 and he would die a few months later. During that last visit he was not drinking for the first time in his adult life but he was having liver failure. He resumed drinking when he returned home.

Scotty was a beacon and a natural Pied Piper. Everyone loved him and he seemed to love everyone. I can tell you from reading his poetry that he came to view life in a fundamentally dark way. He trusted everyone and was taken advantage of by many. He had no concept of money management and it vaporized in his possession.

Ultimately, his life was very difficult with bright chapters – Disneyland and Paris in particular – and many dark ones. In reflection, it could not have gone any other way. This was Scotty and there was no other life option for him. Music and entertaining was his passion and alcohol was a demon none of us could exorcise from him. Interventions were planned but failed.

Scot’s writing was always a reflection of his life circumstances. The music he wrote during the What’s New period was mostly upbeat. He intensely disliked the dreariness of London and addressed that directly in one of his solo songs. His writing became darker as his circumstances deteriorated and that diminished the appeal of his music for many. I repeatedly encouraged him to lighten up and inject some humor or irony, as he used to do, into his writing rather than hitting us on the nose with what he didn’t like. He preferred the direct approach. Regardless, he was a great talent and a wonderful, sensitive person.

In the end, he should be remembered as a loving, caring, zany bundle of gifts and excesses. His was the life of the clown. Happy on the outside and often tortured within. The day his father Cy called to inform me of his passing I cried. I knew Cy would call with that message before too long so I was prepared for it. But it pained me greatly and it still does. He was one of a kind and he is missed.

Thank you to Jeff of the Limestone Lounge and Obsolete for the What’s New EP scans. Yachtsmen LP scan from Vintage Disneyland Tickets.

Special thanks to Kevin Shipman and Bud Hedrick.

The Vandals (San Francisco)

 The Vandals, San Francisco, January 1966
The Vandals, San Francisco, January 1966

My friend Derek Taylor sent me this batch of photos of a band that he found last year in San Francisco. Written on the back of the two larger photos is “Vandals – Jan 1966” in neat handwriting, plus the band’s name is shown behind the bassist in one shot.

A photo of the bass guitarist similar to the one below was reproduced in a newsletter or yearbook for the St. Ignatius High School (now St. Ignatius College Prepatory) at 37th Ave and Quintara in the Outer Sunset district of San Francisco.

On the back of this clipping is a list of names sporting and events that took place during the four years of that class of ’66 or ’67 with some names (though not of the band) – Vince Spohn, Jim Nevin, Rich Wilpitz, and Den Carter.

Mike Dugo pointed out this was the same group that recorded for Joe Brattesani’s Golden Gate Records – “I Really Want to Want You” b/w “A Reason” and “It’s Like Now Baby” b/w “Wet & Wild” & “Mustang Georgie”

Cosmo Violante – vocals
Joe Tarantino – guitar and vocals
Nick Paolini – bass and vocals
Ned Bawden – keyboards
Curt Mellegni – drums

Nick Paolini passed away in 1970.

Found with the photos of the Vandals were some snapshots of another group. Since a couple people have commented that they do not seem to be connected to the Vandals, I posted them to a separate page.

Bassist Nick Paolini of the Vandals
Bassist Nick Paolini
Clipping featuring Nick Paolini from similar photo to the one above

WFMU Record Fair this weekend


Marc Winokur – anyone know him?
God Fearin’ Man, recorded at Jack’s Window Studios in West Wardsboro, Vermont
I’ll be selling records this Saturday and Sunday, October 29 & 30 at the WFMU Record Fairin Manhattan. I’ll be at table C-22, towards the back of the room. I’ll be peddling a few rare garage 45s, plenty of LPs, and even some 78s.Please come by and say hello, I’d like to meet any regular readers of the site. If you haven’t been before, please be advised it’s insanely crowded until late in the day.


Les Jaguars!

The various Warrior labels

Chan Romero’s Warrior label from Montana
“Jane” by Kostas Lazarides
Pueblo, Colorado group on a small Montana label!

I’m trying to clear up some of the confusion about the various Warrior labels that existed in Texas, Montana, Louisiana and California.

Let’s start with Chan Romero’s Warrior label from Billings, Montana:

I’ve read that Chan, a one-time Pueblo, Colorado resident best known for writing and recording “Hippy Hippy Shake” owned the Warrior label that released the great single “I Don’t Recall” by the Trolls (also from Pueblo). I was uncertain of this, as a notice in Billboard announcing the formation of Romero’s Warrior label in Billings, Montana came much later – 1971. However, Lisa Wheeler of Pueblo City Limits related that Chan told her he was indeed the owner of Warrior, starting it in Billings as early as 1962.

Stan Campbell on Warrior
Chan’s Warrior label with horseman logo

Billings, Montana. Chan Romero, owner, circa 1962-1966:

likely incomplete – any help with this would be appreciated
Warrior L-128 – Kostas – “Something We Call Love” (C. Romero) / “Jane” (Kostas Lazarides) ( Crooked Rock Music, BMI, 1962 or later)
Warrior L-140-1- The Wanderers – “Don’t Pity Me” / “Give Me All You Got”
Warrior L-173 – Trolls – “I Don’t Recall” (Richard Gonzales, Warrior Tunes BMI) / “Stupid Girl” (November 1966)
Warrior L-219 – Chan Romero – “Lost In Love” / “Billie” (can anyone provide a label scan?)
Warrior OV-105 – Stan Campbell – “Any Time” (Happy Lawson) / “Just One More Dance” (Stan Campbell) (date?)
Warrior WS-106 – Faith, Hope & Charity – “That’s What the People Said” / “Hey, Hey World” (1971),
Warrior WS-114 – Lonnie Bell and the Yellowstone Dudes “The Last Mile” / “Montana Song”
Warrior NRF-542 – Chan Romero – “The Best Thing I Ever Had” / “The Fire in My Light” (“recorded in Canada”)

For more info see also:
Chan Romero discography at WangDangDula.com.
Interview with Chan Romero at Rockabilly N Blues Records.

Other Warrior discographies:
Any help with these would be appreciated:

Pleasanton, Texas label
same Texas company as the Dayton Smith 45, but moved 30 miles north to San Antonio with different label design

Pleasanton, Texas and San Antonio. E.J. Henke, owner, 1957-1959. Emil J. Henke would go on to own the Satin label also covered on this site.

Warrior WA 501 – Dayton Smith & the Roving Warriors – “What Will the Answer Be” / “Standing by a Seashore”
Warrior WA 502 – Red Hilburn – “Three Words” / “The Rambling Blues”
Warrior WA 503 – Opal Jean – “I’ll Never Forget My Kind of Boy” / “I Heard His Heart Break Last Night” (reviewed in Billboard Sept. 30, 1957)
Warrior WA 504 – Franklin Smith with Roving Warriors Band – “No Wonder I Wonder” / “A Golden Dream of You” (1957, blue ‘Chief’ label with Pleasanton address)
Warrior WA 505 – Jerry Smith – “I Don’t Care What They Say” / “I Couldn’t Win Your Love” (1958)
Warrior WA 506 – Al Dean & His All Stars – “Fragile Heart” / “Blue Sky Waltz”
Warrior WA 507 – Doug Sahm & the Pharoahs – “Crazy Daisy” / “If I Ever Need You”
Warrior WA 508 – Al Dean – “I Shot Billy” / ? (1959)

Hollywood rockabilly label from late ’50s

Hollywood, California, 1959:

Warrior W-1554 – Bobby Lee Trammell – “Open Up Your Heart” / “Woe Is Me” (May 1959)
Warrior W-1555 – Curtis Lee – “Pure Love” / “With All My Heart (I Love You)” (1959)
Warrior W-1556 – Joey Norman – “King of Fools” / “Heart of Mine”
Warrior W-1557 – ?
Warrior W-1558 – ?
Warrior W-1559 – ?
Warrior W-1560 – Frankie Knight – “Unchained Melody” / “Call Me”

Warrior label from North Hollywood
Warrior label from North Hollywood

North Hollywood, owned by Tom Sawyer, 1966

Only one release I know of:
Warrior W-166 – Our Gang – “Careless Love” (D. Duvall, Huckleberry Music, BMI) / Heartbeat (1966, prod. by Tom Sawyer)

Doesn’t seem to be connected to the earlier Warrior label from Hollywood. Tom Sawyer also had the Trident label. Our Gang were from Buena Park by Los Angeles (info from Mike Markesich). This band Our Gang is not the Colorado Springs group who cut “Rapunzel” / “Here Today, Gone Tomorrow”.

Simon T. Stokes Warrior 45 Big City BluesSimon T. Stokes Warrior 45 Pow! Zap! (I'm the Bat)

Another Warrior label from California

Warrior SM-1007/SM-1008 – Simon T. Stokes “Big City Blues” (Clifton) / “Pow! Zap! (I’m the Bat)” (Murray-Clifton) January 1966, produced by John Herring, Sawtell & Herring Music, ASCAP

Simon Stokes would record several different versions of “Big City Blues”. After the Warrior release, he would cut it for the HBR label (HBR 487) in July of ’66, with new flip “Truth Is Stranger Than Fiction” (Simon Stokes) and arrangement credited to Harold R. Battiste, Jr., and A&R by Larry Goldberg. He made a third version b/w “Cobwebs” on the In-Sound label in 1967, and also released it on MGM K14135 as by Simon Stokes and the Night Hawks, prod. by Michael Lloyd for Voodoo Prod. Stokes was also a member of the Perpetual Motion Workshop (“Infiltrate Your Mind” / “Won’t Come Down” on Rally), the Flower Children (“Mini Skirt Blues” on Castil and Allied) and recorded as Simon T. Stokes & the Nite Hawks on Elektra.

Louisiana:
1001 – Guy Spitale – “Who’s That Woman” (W-101) / “It’s Over Forever” (W-102)

1002 – Guy Spitale – “Returning Your Letters” (W-103 )/ “Scroungy” (W-104) (white label w/ red printing)

Unknown locations:
RFF 777 – Ivan X – “Edge of Night” / “Tell Tale Heart”

Special thanks to Westex of Lone Star Stomp, Drunkenhobo, Bob of Dead Wax, Collin Pruit of Inkmathematics, Dave Martens, Kurt Rokitta and Andy for their contributions to these discographies. Thank you to Dominic Welhouse for the Simon T. Stokes scans.

Check out Dave Marten’s page on Montana bands at Long Time Comin’ – Lost Sounds from the Treasure State.

Thank you also to Lisa Wheeler for scans, info and continued updates regarding Chan Romero.