Category Archives: US

The Scorpio Tube

Dan Nielsén, who had conducted the interview with John Ford of the Index published here back in February, asked me to dig into the story of the Scorpio Tube, the group behind the incredible B-side “Yellow Listen”.

The lead guitar track dominates the sound with a piercing distortion and echo that breaks up with stroboscopic effect. You can hardly hear the piano in the background, though it provides much of the droning sound at the intro and becomes apparent towards the end as the lead guitar is mixed down.

I just recently heard the A-side, “White Birches” and it’s more polished than “Yellow Listen”, with a progressive sound that would have done fine on radio at the time. The instrumental break is excellent too.

As far as info goes, I know what the label tells me, that both songs were written by Conn. MacDonald.

H. Eugene MacDonald produced the record for Vita Records from Hollywood, CA, which is probably not the same Vita owned by Laurence Mead that released a good number of records in the 1950’s with a Pasadena address.

As for dating this, it may have been recorded as late as 1970.

Transfer of “Yellow Listen” taken from the expanded CDR version of Psychedelic Disaster Whirl. Thanks also to bosshoss for the scan of “White Birches”. Transfer of “White Birches” sent to me by Max Waller.

Jeweldine Taylor

Jeweldine Taylor TRC Records promotional photo

My name is Jeweldine Taylor. I wrote and recorded “Look Who’s Talking About Love”, backed by Jim Bogle and the Beaumen. Recorded at Clifford Harring Studio, Fort Worth, Texas, on the T.R.C. Label. On the flip side was a song I also wrote, “Your Choice”.

at Geneva Hall, with Dale McBride, Gaylon Christie and Roy Robinson

A few months later, I formed my own band, Jeweldine Taylor and the Rockets. On occasions I appeared with other bands as a female vocalist.I had two lead guitar players, Tommy Christian, who I lost when he took a job with Chuck Harding and his wife. I then hired Jim Walker who stayed as long as I had a band.

Bass players were Tony Fishers, Wallace Pelton, Johnny Eubanks, and Algie Roundtree. Drummers, James Jackson, Mike Stewart, Mickey Sharp, and David West. Two saxophone players, Danny Fisk and Paul Jones. Other musicians were sometimes employed on a temporary bases until a permanent member could be found.

In the spring of 1965 I met a young Army officer named Douglas B. Gremel. We were married on August 7, 1965. After about ten months, with all contracts fulfilled, I dissolved the band and quit professional music.

About three years later, I started writing and recording gospel music as Jewel Gremel. My last recording was in 1999. My song New Jerusalem, was recorded by the Belville Brothers in the late 1990s.

Sincerely,
Jewel Gremel

at the Imperial Club, featuring Earl Crosby 407 Dallas Highway
with the Rockets at the Flame Room, formerly the Tropical 1520 S. Loop Drive, Waco
with Link Davis, Big Mamou and Paul Wayne at the Terrace on Dallas Highway
In the Sahara Ballroom of the Sahara Club, 111 East Industrial Blvd.

All clippings courtesy Jewel Gremel

The DuCaines

The Ducaines, circa 1967, from left: Tommy Mariani, Jerry Silber, Freddy Baroni, Art Lent and Marc Laflotte

The Ducaines came from the same Bronx music scene as the Elegant Four. They recorded two songs at Variety Recording on 46th Street in Manhattan which deserved a release, but have remained unheard until this year. Founder and lead guitarist Art Lent wrote to me about his group and sent the photos seen here:

I formed the The DuCaines in 1964 and they lasted until 1969. The original members when I formed The DuCaines were Jerry Silber (bass), Charley Vicari (rhythm guitar), Joe Barbato (drums) and myself, Artie Lent, on lead guitar. I replaced Joe when I was introduced to Freddy Baroni and he played the drums at his house for us. What a great drummer!

We played many of the Catholic high school dances in the upper Bronx. We also performed at the Worlds Fair held in Queens, New York. The singer was Tony Lavell (a stage name) and the rhythm guitar was Charlie in this early group pictured at the Fair. We played on the New York State Pavillion stage.

Early version of the DuCaines at the New York State Pavilion, World’s Fair, 1964 From left Freddy Baroni, Art Lent, Charlie Vicari, Tony Lavell (Bavaro), and Jerry Silber

Our very first recording, “How Do I Love Thee” was also done at Variety Recording studios in New York. I believe I was about 14 years old. The DuCaines was brand new with Joey on drums, Jerry on bass and myself on lead. I don’t believe we had a rhythm guitar yet. We were asked by a local singing group called “The Provincials” to back them up since they didn’t play instruments. They had a great lead singer. The DuCaines did a few shows with them around the high school dances. This recording [is] from my demo record so it’s a little scratchy.

The Provincials with the DuCaines – How Do I Love Thee

Freddy Baroni and bass player Jerry Silber stayed with me as I changed members during the years. I later replaced Charley and Tony with Marc Laflotte as lead singer/rhythm and Tommy Mariani on keyboard. We needed them because we wanted to do songs by the Rascals, Vanilla Fudge, Vagrants and other similar bands. We later bought a Hammond B3 like many other top bands back then like the Rascals. We were the house band for many of the WMCA Good Guy radio shows at the high schools. We played in concert at Cardinal Spellman High School as the opening band for The Vagrants.

We later lost Marc for some reason and Joey (?) came in as lead singer and rhythm guitar. These are the members that recorded two songs I wrote and copyrighted at Variety Recording studios in 1966 or 1967, “Little Angel” and “I’m New”.

The DuCaines – I’m New
The DuCaines – Little Angel

We only had demo records made at Variety, we never had the record pressed into a 45 for release. We were waiting to get some more songs together. I took the original Scotch 8 track tape to a studio in Tampa Florida just a few weeks ago and after much work was able to get it to play. He moved the two recordings after 45 years plus to a digital software and him and I sat in his studio and remixed each track for 2 1/2 hours.

A few months after the recording our bass player left for the Army. Joey filled in on bass and sang lead. He left for school soon after Jerry returned from Army reserve training. Then I left to join the US Marines and went to Vietnam. The band broke up a few months later. The DuCaines merged with The Elegant Four after I left to join the Marine Corps. I believe the Elegant Four were calling themselves Windigo at the time.

Art Lent

Update, January 2011:

Fred Baroni’s stepdaughter wrote to say Fred passed away of esophageal cancer in April of 1995 at the young age of 45.

From left: Tommy Mariani, Jerry Silber, Art Lent, Marc Laflotte and Freddy Baroni
The DuCaines at Variety Recording, circa 1967 Clockwise from bottom left: Art Lent, Jerry Silber, Joey Barbato, Tommy Mariani and (center), Freddy Baroni
The Ducaines, 1964
The Ducaines first high school dance, 1964: Joe Barbato on drums. Jimmy Skau, founder and manager of The DuCaines, is standing off stage on far left. Tony is next to him off stage sitting waiting to come out and sing. Front stage left to right Jerry, Art and Charley on guitars.

The Nite Riders


The Nite Riders
The Nite Riders were one of many very young bands of the ’60s who cut great records. “She’s Mine” opens with Chuck Franczak’s solid drum beat. Dave Daniel’s guitar has a fine natural distortion on the low notes and good reverb on the higher strings, which he makes use of for some fast runs and licks between chorus and verse.

“Tornado” shows this band had a handle on the tough instrumental style of a few years earlier, like “Shifting Gears” by fellow Worcester group Beep Beep and the Roadrunners. Through some error the label credits this song simply to “Dave”, probably for his lead playing, though the bass runs and drums are excellent here too.

David Daniels wrote to me about the group and included all the photos and clippings seen here:

Dave Daniels – guitar & vocals
Bob Dube – rhythm guitar
Bernie Thebado – rhythm guitar on the 45
Dean Johnson – rhythm guitar
Bill [surname ?] – bass
Tony Agby (Tony Agbay?) – drums until late ’66
Charles “Chucky” Franczak – drums

I started the Nite Riders when I was going to school at Chandler Jr. High, Worcester, Massachusetts. We were “The Nite Riders” (not “Night Riders”).

My dad played guitar and he showed me the basic chords. My family has always been around music, my sister “Snooky” (she worked at WORC late 50’s) was in charge most times of making contact and setting up gigs for the stars in and around Worcester. She became real good friends with Bobby Darin, he had been to the house many times. My mom would be making dinners for who ever was in town. So I grew up knowing a lot of famous folks.

The very first Nite Rider gig was a bar on Main St., Worcester, called the New Yorker. We made a $10 bill each and free cokes and chips. My dad who drove for the band in the beginning also got free drinks and $25 go figure. We found out real soon after the first set that this was a gay bar – remember we were 13 to 15 years old, we said “a what bar?”

We met Beep Beep and the Roadrunners when we had Tony Agby as drummer. He showed up with the “Roadrunners” (they were older than us) and boy we thought they were so cool with their full length double breasted dark blue “P” coats. They came to volunteer their time and help us learn how to improve our sound, and WOW! they were already professionals. Tony’s dad was our first manager.

After that is seemed we were always playing the same gigs together, I really had a great time back then. We were all age range 13 to 15 and the Road Runners were our idols. It was so cool that they had two drummers. We played most every place they played, Tony Agbie (spelling?) was our drummer and his dad Tony Sr was manager for the Road Runners.

The band really kicked off after winning a battle of the bands contest sponsored by WORC radio station and winning a chance to record a single, “She’s Mine” / “Tornado”. WORC paid for the session. It was recorded at Hill’s Sound Studio on Chandler St. in Worcester. Hill’s Studio was an old house made into a recording studio, they mostly recorded gospel groups. “Tornado” came about from a combination of the Ventures, Buck Owens, Chuck Barry, and maybe a little bit of “Shifting Gears” from the Beeps, but I think mostly from Danny & the Juniors, good friends of my sister Snooky especially Frankie.

Bernie [Thibodeau?] never played anywhere with us, he really wasn’t a guitar player. I showed him the chords so he could be on the record. You will also see “Hassett” as one of the writers (not). They were my friends and wanted to be involved with band, so I put there names on the record.

We got lots of airplay and loads of offers to play even in New Hampshire. “She’s Mine was #11 on the WORC request charts, July 1, 1967 (I think we had help). We sold our first 500 copies pretty quick mostly at Woolworths and another record store on Pleasant St. in Worcester. We also sold them at the concerts. We ordered another 500 on our dime this time but sales slowed down and we had like maybe 300 left but don’t know what ever happened to them.


The Nite Riders – three notches above Beep Beep & the Road Runners’ second single
WORC, August 25, 1967

The Nite Riders had two drummers Tony Agby and then 13 year old Chuckie Franczack, but Tony’s dad still stayed on as our manager.

Later on after the record in ’67 the drummer’s Mom bought a 1959 black hearse and 1960 black limo. Chuck’s mom would drive us to concerts and other gigs in a full chauffeur outfit and we all had black pants with white shirts and gold vests boy we thought we had made the big time.

Chuckie died at age 18 … drugs, he was a great drummer. Dean died in a motor cycle crash I heard. I would love to know if any folks from Worcester have any pictures or stories of The Nite Riders.


Nite Riders with Davey Daniels, November 9, 1967
Lucia’s Restaurant’s Peacock Lounge

Beep Beep & the Road Runners with the Night-Riders (sic),
November 25, 1966, Millbury Town Hall


Nite Riders at the Firefighter Dance, Nov. 25, 1966
from left: Dave Daniels, Chucky Franczak and Bob Dube
“Our bass player didn’t show up that night” – Bob Dube

Beep Beep & the Road Runners with the Night Riders (sic),
December 10, 1966, Webster Memorial Auditorium


Beep Beep & the Road Runners with the Nightriders (sic),
St. Bernard’s Parish Hall


at St. Peter’s with WAAB DJ Steve Kane


At Elm Park, clockwise from bottom left: David, Bill, Dean and Chucky

Charles W. Franczak, 14-year old drummer …

The band broke up 1968 and I started a country-rock band “Dave Daniels and US.” When I was 19 years old, the band was playing a bar called Longo’s lounge and there was a big write up about me. Well some goodie goodie complained about an under age kid playing in a bar. I’d been playing bars since I was 13, even the police knew it, but always looked the other way. Well they couldn’t look away this time and I was banned from playing in bars.We fought it and even the Mayor was on my side. There was a town hall meeting and a council chamber meeting and up to 600 people showed up on my behalf. I won and there was an age ruling change for musicians as long as they did not drink and were accompanied by an adult. Until then many groups with minors could not work certain gigs. There was an article with the Cowsills and their trouble with playing certain clubs and in it they mention my case in the article paving the way for other young musicians.

Dave Daniels and US stayed together till 1971. We were to play Le Club International in Fort Lauderdale Florida, and while on the road some how the three cars got separated and the organ player and me wound up in Jacksonville where my car broke down. The organ player Rich went back to Worcester and I stayed and worked with a country band in Jacksonville.

One night some musicians came in and asked if I wanted to go on the road with a well known country singer Claude King (“Wolverton Mountain”) so I moved to Shreveport La. in 1973 and have been here since. We were called the Nashville Knights and then changed to “The Cotton Dan Band”. Our latest CD Claude King Live! can be found almost anywhere on the net.

The best thing I did (not the biggest) was my parents always wished I would be famous enough to play The Wheeling Jamboree WWVA, Wheeling West Virginia. Mom and Dad used to listen to that show every Sat. night and when I was a kid I told them I would be on that show one day. Claude King made it happen. He booked it February 1983 and it was recorded live. On the second half, not recorded but aired, he had me do two songs on his time and dedicated that section of the show to my parents in Worcester MA. Claude King is the best!

Tell Ronnie and the guys of the Beep’s David remembers them and hopes they are all well!

David Daniels


Click
for larger image

The Other Half (New York)

 The Other Half at Chadwick's Recording Studio in Utica
The Other Half at Chadwick’s Recording Studio in Utica

The Other Half Bell Sound 45 It's Been a Good DayBrian Kirschenbaum submitted this article on the Other Half a band from Oneonta, New York. The band cut one folk-inspired 45 at Bell Sound, “It’s Been a Good Day” written by Glenn Schenenga and the excellent “I Won’t Be Back” by Glenn and Jeff Lyman.

Bassist Pete Lipsio wrote this history of the group and gathered the photos seen here.

The Other Half was organized in 1965 at Hartwick College, Oneonta New York; the members being Jeff Lyman (vocals), Steve Harrigan (lead guitar and keyboard), Peter Lipsio (bass), Glenn Schenenga (rhythm guitar) with Ed Welsh, Bob Kirsch and later Bill Pegler (drums). In the beginning there were but two individuals, (Harrigan and Lipsio), living in the same dormitory, who would get together to play their guitars. This duo soon found a local drummer in Ed Welsh with an existing band and a weekly venue at Molinari’s, a local bar and restaurant. While practicing together they attracted the talents of rhythm guitarist Glenn Schenenga and vocalist Jeff Lyman.

The Other Half Bell Sound 45 I Won't Be BackThe group thus formed soon replaced that which was performing at Molinari’s and began to attract large crowds of college students from both Hartwick College and the nearby Oneonta State University. As their litany and variety of songs increased and matured, Steve further improved the groups sound with the addition of a Farfisa organ; alternating between same and lead guitar as a particular song required. While Steve played the keyboard, Glenn would assume the role of lead guitar and Peter that of Rhythm while Jeff carried on with vocals and an occasional guitar performance. It soon became obvious that their music needed more depth and thus Peter began playing a Fender Jazz Bass through a Fender Dual Showman amp. Jeff added a new Bogen sound system and Binson Echorec reverb while both Steve and Glenn increased their respective sound with a succession of larger and more powerful amplifiers and additional instruments.

The Other Half at Chadwick's Recording in Utica
The Other Half at Chadwick’s Recording in Utica

Shortly thereafter, the band recorded their first two hits at Bell Sound (later Bell Records) in New York City. Sales of the record proved to be a local phenomenon and the group acquired an ever increasing and widespread popularity with a television performance on Hank Brown’s “Twist- A-Rama in Utica.A new drummer and fellow college student, Bob Kirsch, soon replaced Ed and the band began an ever increasing spiral of popularity. Their music eventually attracted the attention of Gene Kipper, a well known agent and promoter based in Utica, New York who signed them for various performances throughout New York State.

The band continued to perform together throughout the Southern Tier of the North East; opening for The Rascals during the spring of 1967 while playing at numerous locations such as the Evening Inn and the College Inn at Saratoga New York, where they were booked for that entire summer. The band’s drummer, Bob Kirsch, a pre-med student, transferred to Wake Forest College and a new drummer and fellow Hartwick student, Bill Pegler, was obtained to be the group’s percussionist.

The band continued to play together with numerous performances throughout the school year of 1968, at the end of which, most of the members graduated and went about their individual lives. For the most part, the members of the band are now retired professionals who long ago left their musical roots to pursue different careers. In August of 2008, following a forty year hiatus, the assiduous efforts of Glenn Schenenga, reunited the members of The Other Half in communication with one another. Though now living in different states, the members are planning a reunion for the near future.

While unaware of this at the time, current research has demonstrated that there were two other contemporaneous groups with the same name. One being in Chicago and the other a West Coast band, each of some regional renown.

The years spent together, while in The Other Half and at college, hold a particular significance for each of the members, who consider this time in their lives to be among the most memorable of events wherein were formed the bonds of personal commitment to their music and a lasting friendship.

Pete Lipsio

 Other Half vocalist Jeff Lyman at the Evening Inn
Other Half vocalist Jeff Lyman at the Evening Inn
 At the Evening Inn
At the Evening Inn

 Rhythm guitarist Glenn Schenenga
Rhythm guitarist Glenn Schenenga
 Pete Lipsio at the College Inn
Pete Lipsio at the College Inn
 At the Evening Inn
At the Evening Inn
 In the 60s this became the College Inn at Saratoga Lake
In the 60s this became the College Inn at Saratoga Lake

Love’s Alchemy


Love’s Alchemy, clockwise from lower left: Damon Hyde, Rick Dannely, Nelson Bogart, Myron Grant, Ray Love and Rob Martens
Love’s Alchemy had this one release on Ultra-City out of Saginaw, Michigan in 1970. The band named themselves after the poem by John Donne – the label spelling “Love’s Alchmey” is a simple typo.

“I Never Said Forever” is a Doors-influenced song written by Ray Love and Damon Hyde. The lyrics include “Jesus” at least twice.

I’m not as much a fan of “Ophelia” written by Nelson Bogart, though the guitar solo has a fine, sludgy distortion to it. My copy is very scratchy. Both were published through Luzar Publications, BMI. Song writing credits list Ray Love, Damon Hyde, and Nelson Bogart.

I couldn’t find much specific on the band until Charlie, a friend of the band wrote to me:

I went to high school with a couple of the guys in the band. They went to the University of Michigan and ended up as fraternity brothers and formed the band in the late ’60s in Ann Arbor. The members were Nelson Bogart on guitar and occasional trumpet, Myron Grant doing lead vocals, Damon Hyde on keyboards, mostly Hammond B3, Rob Martens on bass and Ray Love on drums.

I was at the recording sessions in Saginaw for the record. When we met Choker Chapbell, he had to tell us that he was the guy on Stevie Wonder’s “Fingertips Part 2” that shouts out “What key, what key?” about 3/4 of the way through the tune when Stevie starts ad-libbing and changes the key!

They are all still playing music, to the best of my knowledge.

Damon Hyde’s wife Pamela sent in the photos seen here and wrote:

Damon passed away in 1999 from a high fever after 9 days in the hospital. He graduated from the University of Michigan in 1971 with a B.A. in Literature.

Damon was a honey-voiced singr who travelled extensively before settling down with his wife Pamela in 1978. He turned his musical talent into a lifelong career as a pop/rock singer and published songwriter. His band backed up Lou Rawls, The Drifters in Puerto Rico, Tiny Tim in Miami, Chief James Billie of the Seminole tribe of Florida and many others.

Damon’s unique ability to sing and play a wide spectrum of music made him a sought after musician for many of South Florida’s most popular bands. A double CD was released in his honor by his wife, Pamela called Unfinished Business.

Pamela added these notes from Myron:

The studio that did that recording was Tri City Recording, which I think was in Saginaw, although it might have been Midland. The marketing guy was “Bill McCune, Man from the Moon,” and one of the owners was a previous member of the Motown horn section.

Actually, all three of us [Damon, Nelson & Myron] played trumpet (I played coronet), depending on the tune and arrangement. Nelson and Damon played solos, I played as part of the horn section in tunes such as “Hold on I’m Comin'”. I don’t recall ever having all three horns on the same tune.

[The photos] were taken shortly after Rick joined the group. We later changed the name to Ramblecrow. There was another band in A2 at the same time who’s name came from literature, Leaves of Grass.

Walter “Choker” Campbell owned or worked with a number of labels in Saginaw including Tri-City, Moonville USA, Gospel Train and Ultra-City, with releases around 1970-’71. Almost all of these were soul sides, making this 45 by Love’s Alchmey a big exception. Choker was a tenor saxophonist who started recording in 1950 for the Lucky-7, Fortune and Atlantic labels, among others. He hired on at Motown in 1960 to form the live band for their revue shows and had a 1964 album on Motown with his band playing the label’s hits. He produced records by Carla Whitney and Albert Jones in Toronto, Canada during the 1970s, and passed away in 1993.

Background on Choker Campbell from the Soulful Detroit forum. Thank you to Pamela Hyde for the photos and quote from Myron Grant.


from left: Myron Grant, Damon Hyde, Rick Dannely, Nelson Bogart, Ray Love and Rob Martens

The Kynds

I’ve read that the Kynds were from Troy, NY, only to find out they were actually from Hudson, NY about a half hour south and only a few minutes from where I now live. I was even more surprised to learn they recorded their single in a small studio in Kinderhook, NY, run by Earl Kennett, who seems to have passed away in 1995.

Members were Joseph Cirincione, Jerry Porreca and Dan Wood. They were a trio of organ, bass and drums, which may explain why the organ is loud in the mix on both of these songs.

Jerry Porreca wrote to me “the band actually formed in Hudson. It evolved from the Del Tones to the Kynds and then Bits & Pieces.”

They released this one great 45 on what must be their own Mo-Foag label in the first half of 1966 (RCA custom pressing number TK4M-5296).

“So, If Someone Sends You Flowers, Babe” has become a favorite of mine, with its repetitive organ lick and quiet vocals. As far as I can make out, some of the lyrics are:

Kynds, Good Times Troy Record 1966 April 9
The Kynds at the Excelsior House, ad from the Troy Record, April 9, 1966

It really makes no difference if you like what you see in me
Not a chance babe,
‘Cause I’m happy,
That we are free (?)
What you say girl,
It don’t have no effect on me
So, if someone sends you flowers, babe,
You know it wasn’t me.

It was written by Dan Wood and Joe Cirincione, Jr.

The b-side is the fast “Find Me Gone”, written by Joseph Cirincione, published by Upstate Music BMI.

Thanks to Brian Kirschenbaum for the scan and transfer of “Find Me Gone”.

The Stereo Shoestring

The Stereo Shoestring: James Coco, James Noe, Richard Lalor, Steve Schultz and Jim Howard
The Stereo Shoestring, from left: James Coco, James Noe, Richard Lalor, Steve Schultz and Jim Howard Photo from Not Fade Away #3

James Coco (vocals)
Jim Howard (lead guitar)
Richard Lalor (guitar)
James Noe (bass)
Steve Schultz (drums)

The Stereo Shoestring English 45 On the Road South

with the Buckle at the Coral Room, Corpus Christi Times, January 12, 1968
with the Buckle at the Coral Room, January 12, 1968
The Stereo Shoestring were a Corpus Christi band, apparently only together for a short time during 1968. They cut one of the monster singles out of Texas in April of that year, a total reworking of the Pretty Things’ “Defecting Grey” titled “On the Road South”. On the other side was a version of the Zombies “Tell Her No”. The “English Records” labels give the band credit for writing both songs. They recorded in Houston, possibly at Doyle Jones’ studio.


The Clockwork Orange, Richard Lalor at far left, Ashley Johnson on bass. The Clockwork Orange, Richard Lalor at far left, Ashley Johnson on bass. Photo from Not Fade Away #3[/caption]

Rich Lalor had played in the Clockwork Orange with Ashley Johnson, a hip record collector who owned the original of “Defecting Grey”. The fact that this song was covered by a Texas band is all the more remarkable, as it was one of the more obscure Pretty Things records of the ’60s.

Stereo Shoestring business card
Management by Vicki Jones Scanned from Not Fade Away #3
They are mentioned in an article from the Corpus Christi Times in July, 1968:

“Sensitivity sessions” are scheduled with a general airing of problems and exchange of ideas. After today’s discussion groups and an “in” at 4:30 p.m. in the Hemisphere Room, a dance featuring “The Stereo Shoestring,” a local rock band, is scheduled.

For some reason, Lalor left the band, followed by Schultz and Howard. Coco and Noe found new musicians and reformed the Shoestring in 1969, but soon changed the name to the Hendrix-inspired The Red House.

Thank you to bosshoss and Gyro1966 for the 45 transfers.

Shoestring - Sun Flower / Mary Ann tape box
Two songs by the reformed Shoestring, 1969 These would be released as by The Red House Scan from the collection of Andrew Brown

Corpus Christi Times, July 8, 1968