|Last weekend I picked up a number of interesting LPs. None of them of the garage genre, but Big Daddy’s Twist Party sounds great. My copy of the LP has stickers on the front cover saying “Herb Zane”. Herb seems to have signed this copy on the top left of the back cover, which also lists him as producer.|
WFMU’s Beware of the Blog discussed this record a couple years back. They kindly included soundclips of all the songs if you want to hear them.
Herb Zane’s real name was Herb Zukerberg. He lived in Patterson, New Jersey and his orchestra had a long stint at the Steak Pit in nearby Paramus. He died in 2009 at age 81; an obituary called him “the bar mitzvah king — a roly-poly force of nature”. The article continues:
Zane had a great 1955 single, “‘You Name It’ Mambo” on Eddie Heller’s Rainbow label out of New York, that included the line “Oh hot pastrami, hot pastrami mambo mambo”. He followed this with two singles on what might have been his own label, Caravan, in 1957, and had at least six additional singles on various labels. He cut his first LP, Let’s Go Latin Cha Cha Cha, for Tico in 1960. Though a drummer and emcee with his orchestra, he’s credited with the vocal on the Rainbow single and on at least one of his De Luxe 45s.
So Herb Zane must be Big Daddy, right? Here’s where it gets confusing, and thus, the reason for my post on this record.
There were at least a few artists using the “Big Daddy” moniker in the late ’50s and early ’60s. One was Frankie Brunson, who recorded as Big Daddy for the Gee and Wynne labels, among others, but he doesn’t seem to be involved with this album.
The two mentions of Big Daddy’s Twist Party on the internet attribute this album to “Big” Bob Kornegay (pronounced Carnegie, I believe), a prolific r&b vocalist and songwriter (see this detailed discography) who sometimes recorded as Big Daddy. However, I don’t believe Kornegay is actually singing on this record.
|In February, 1957, Bob Kornegay cut a double-sided r&b novelty number “The Man in the Phone Booth”, first as “The Wanderer” on the Flair-X label and then a week later for the Herald Label as “Big Bob Kornegay, ‘The Happy Wanderer'”.|
Billboard sussed out the story behind these competing records with two items in the February 23, 1957 issue (see clippings at end of article). One describes how Kornegay was under contract to Herald when he recorded the Flair-X sides. Herald had Kornegay cut an identical version, using the same musicians and arrangement, and rushed it out to compete with the Flair-X release. A separate article notes “Al Silver of Herald said he and Kappi Jordon – blonde chick who runs Flair-X – had decided not to sue each other. ‘We’ll fight it out record for record like gentlemen’ said Silver, ‘and let the best wax win.'” Billboard later discovered Kornegay was signed to several other labels as well, so no wonder he recorded under aliases.
As it turns out, Herb Zane co-wrote “The Man in the Phone Booth” with Lee Pines. Fred Mendelsohn of DeLuxe Records decided to have Zane cut his own version and rushed it into the marketplace in a matter of days, though in a review Billboard preferred Kornegay’s vocals.
Coincidently, an ad for DeLuxe, King and Federal records from March of ’57 (Syd Nathan owned all three labels at that time) includes Herb Zane’s “The Man With the Phone Booth” and also lists Kornegay (as Big Daddy) with “Bacon Fat” / “Bad Boy” on King 5013. Not only did Herb Zane and Bob Kornegay release the same song, but they simultaneously were also recording under the same umbrella of labels.
By 1961, Felix Mendelsohn had left Deluxe and started his own label, Regent, which he would later sell to Herman Lubinsky of Savoy. One of his first LPs on Regent is Big Daddy’s Twist Party, produced by his old friend from the DeLuxe days, Herb Zane.
Is Bob “Big Daddy” Kornegay singing on this LP? It’s possible, but I doubt it. There’s a secondhand reference on the ‘net that Kornegay had throat cancer and stopped singing in 1959. More definitively, the Music Maestros label released a 45 featuring the identical cut of “The Persians Twist” from this album with Herb Zane’s name on it, and no mention of any other vocalist. Considering he was characterized as ‘roly poly’, I am inclined to think that Herb Zane took the Big Daddy name for himself for this album.
Billboard, March 9, 1957
|Herb Zane discography|
(any help would be appreciated)
Thank you to Tapio and Bob of Dead Wax for help with the discography.
Billboard, June 30, 1956
Recorded by Fred Mendelsohn with mastering at Medallion Studios, engineered by Paul Cady
Billboard, Feb. 23, 1957
also in Billboard’s Feb. 23, 1957 issue
The Kalan Five did not release a record but toured throughout the Mid-West and cut some demos at Ray Ruff’s Amarillo studio in 1965. Drummer Kurt Johnson wrote about the band’s 1965 sessions and summer tour:
I know the bands of that era well because I was the drummer for one of them, K-5/ Kalan Five. K-5 was made up of students all from Chadron State College, in Chadron, Nebraska. Our chief rivals were The Drivin’ Dynamics from Scottsbluff, Nebraska; this was then Randy Meisner was still their bass player before he ended up as a founding member of The Eagles.
We got connected to Ruff and Ruff Records, and tangentially Mid-Continent Entertainment (that managed a lot of summer tours), each of which had people on the road that summer, through our contacts in Hays, Kansas, which was the home of the Blue Things and a major music equipment outlet at the time (can’t remember their name but they built all our sound equipment). We met Ruff when he recruited us (by our regional reputation) to play in a big KOMA (Oklahoma City radio station) Battle of the Bands at the big Hutchinson, KS arena, which featured, all in one night, Ray Ruff and the Checkmates, The Fabulous Flippers, The Blue Things, Buddy Knox and the Rhythm Orchids and the Kalan Five (or K-5). This was in spring 1965.
K-5 had a huge instrumental sound (six Showman amps) and after that concert/dance Ruff invited us to Amarillo to talk to us about the summer tour with KOMA. I got to know Ruff’s drummer, Chico Apadocca, quite well (he was a great drummer!) after I used his drum set for a KOMA Battle of the Bands when there was not enuf time between sets for each band to set up their own. He also thought I was pretty good so we talked a lot – I was just college kid.
The bands that were on tour that summer (1965), and several of which are in your list of Ray Ruff discographies, all were in and out at his studio in Amarillo, and were in association with Ruff, and/or Mid-Continent Entertainment, and all advertising on KOMA.
These included a number of bands off of Nebraska and Kansas college campuses along with other, more purely professional bands, that had been on the road for some time. This list included Ray Ruff and the Checkmates, Buddy Knox and the Rhythm Orchids, The Fabulous Flippers, The Blue Things (formerly The Blue Boys), The Drivin’ Dynamics, the Kalan Five, the Knu Castles, Spider and The Crabs, The Red Dogs and the The Misfits.
K-5 was short for the Kalan Five. Ruff made our ads into “the Kruisin’ Kalan Five” for that summer. The Misfits’ 1965 KOMA ad was “get a fit with the Misfits”; Spider and the Crabs’ ad was “Spider and the Crabs, a very weird band (said in a creepy voice)”; The Red Dogs was “The Red Dogs, direct from the Red Dog Inn”, Knu Castles radio ad was the “Newwwwwww Castles”.
We all arrived in Amarillo to record demos shortly after “Pretty Thing Oh” by the Blue Things had been released by Ruff Records. Ruff was pleased that it was then at #5 regionally (I believe that was a rank listing from Shreveport, LA, if I remember correctly from his going on about it). Ruff came out of his office and played it for us all in his lobby. This means that some of the unknown cuts in your list around the time where you list “Pretty Thing Oh” for 1965 may be tracks from these other, lesser known, groups that recorded their that summer. If Ruff never went anywhere with these demos he may have just left them unlabeled.
Those days at Ruff’s studio were also memorable because the Isley Brothers were also there, visiting. The groups that cut demos in those few days were Ray Ruff and the Checkmates, K-5, and the Misfits (a group with a folk rock sound)—there may have been more during that week but these were the only sessions I heard or took part in; lots of bands were coming and going. Again I remember that well because of having to keep setting up and taking down drums in the studio with Chico. Note that, in your lists, tracks by the Drivin’ Dynamics and the Knu Castles are listed under the Sully label; I have a feeling they were all cut in Amarillo, perhaps, because we saw those bands often.
We all played the same places on alternate nights and all knew each other—same with most of the bands on the road that summer, and in ’64 and ’66. Most of the members of these bands knew each other, esp. those who played regularly in Kansas and Nebraska which included the Knu Castles, King Bees, Drivin’ Dynamics, Fabulous Flippers, Spider and the Crabs, and later, as this era closed out, a very talented band from North Platte, Nebr. known as The Showmen. They were managed by the brother of our manager, whose names I’ve forgotten. We also got to know bands we met while doing major regional shows—most memorably the Beau Brummels (who were nice guys) and The Castaways, whom we played a gig with in Minnesota.
The touring band of K-5 was myself, along with guitarist Rusty Cope who really got Kalan Five together, in 1964. The other 1965 Kalan Five members were guitarists Gary “Meke” McMeekin, Jim Gype, and Denny Sonnenfeld. Gype and Sonnenfeld were the lead singers for K-5/ Kalan Five from 1965 on and replaced two original members of Kalan Five, Ron Davis and Glen Mitchell, when the group needed better singers for that summer 1965 tour with Ruff as agent.
Cope and McMeekin were from Crawford, Nebraska; Gype and Sonnenfeld from Ainsworth, Nebraska. Before touring with the Kruisin’ Kalan Five 1965 summer tour they had played in another Nebr. band “Banana Cream Weather Balloon” also from Chadron State College. That information also explains our close regional relationship with the Drivin’ Dynamics (from Scottsbluff Nebr.– 120 miles down the road– at Hyrum Scott College). The Drivin’ Dynamics have an ongoing tribute website and are in the Nebraska Music Hall of Fame.
No singles from the Kalan Five – our demos all died somewhere between Ruff’s studio and whatever his deals were with Tower, Capitol etc. He was a bit of a disorganized person.
At least, re: songs, we weren’t like many other groups who had great songs “stolen” by others, who then made money off of them; there wasn’t much legal protection for anything is those days. But we made enuf money that the guys who wanted to drive fancy cars could drive them. I bought a camping van– that was more my style.
The attached photo is of me “in the tunnel” at the Hutchinson, KS Battle of the KOMA Bands taken on someone’s old polaroid. All of my memorabilia from the era no longer exists and this photo just happened to turn up awhile back.
The Kalan Five played into 1966 (with the members from the 1965 summer tour) and then got separated by people graduating from college and moving on with their lives. Rusty Cope was the only member who went professional if I’m not mistaken. Rusty was a great guitarist. Rusty went on to play for Randy Sharp and, after us, and before Sharp, I believe with another mid-American group called “Spider” which got great early 70’s PR in Billboard (May 27, 1972) but whose debut album Labyrinths did not do well. No one has kept in touch.
Believe it or not I went on to get a PhD and to a rather distinguished career in scientific research [Wikipedia at Kurt Johnson (Entomologist)].
“In the Morning” has the dense, moody sound New England is known for. It was the b-side to “Pretty” a song in a somewhat older style of pop balladry. Both songs were written by Carl Gastall, Jr., who later joined Phase IV who had their own 45 on Tuff-Nuff, “Plastic World”, written by D. Bourguet and “It’s You”.
Two later 45s on Tuff-Nuff are Ray Gambio & the Darkest Hour “I’ll Be There” / “The Mountain” and Charlie Quintal’s “It’s a Crazy World We Live In”.
When I first covered Bobby & the Farraris a few years ago, I listed the group as from Bangor, Maine, an error I repeated from a guide to New England bands published in the early ’90s. Bob Hughes tells me the group was based in Fall River and played primarily throughout southeastern Massachusetts and around Providence, Rhode Island.
Bob kindly answered many of my questions and provided photos and a detailed history of his career with the Farraris and his earlier group, Bobby & the Galaxies, along with a cool demo they cut at Metcalf Recording, one side a weeper, “I’m Tearing My Heart Out” and the flip a great upbeat novelty “Giggle Wiggle” with lyrics like “she’s got long black hair way down her back, too bad there ain’t none on her head”. As an aside, Metcalf was the studio for Masada’s “A Hundred Days and Nights”, released on Sadbird in 1968 and written by Paul Brissette.
Bob takes the story from here:
The Farraris were originally a four piece group, me on guitar and lead vocals, Rick Philbert (deceased) on bass and back up vocals, Danny ? on keyboards and Vinny ? on drums. We later added Lenny ?, a sax player from New Bedford, MA. He had the unique ability to play two saxophones at once, and in harmony. Very cool.
The name Farraris was a misspelling. The band was only together for two years. I formed the band because of the breakup or my other band, Bobby & The Galaxies.
Carl Gastall was a friend of mine and a fellow local musician, and really good song writer. His [uncle] Tommy was a catcher for the Baltimore Orioles. Carl admired my work and approached me with these songs. He wanted us to record them and he would get the backer to finance everything. “Pretty” / “In the Morning” was recorded at Wye studios in Rhode Island. It was our only record. It achieved some local success in Providence.
It was the first release on the Tuff Nuff label which was created by a local business man Ritchie Martin, to promote our recording. Later Charlie Quintal and some other local musicians recorded on the label. Don Perry (aka Dino and Don DeCarlo) and Larry Santos also had record labels in Fall River: Honey Bee and Little Town Records. We only sold around 500 of them.
We played mostly in the bars in and around Fall River/Providence area. My day job caused me to transfer out of the area in April of ’69 and that ended the band. I don’t have any pictures of the group.
Ricky Philbert the bass player, and I had been together for quite some time. We first met at a talent show at Lincoln Park Amusement Park in Dartmouth MA. It was a big place and the main attraction in all of S.E. New England.
Ricky’s band and my band, Bobby & the Galaxies, were in the talent contest that was held every Sunday in the outdoor pavilion. My band won that week. Ricky approached me after about teaming up. Since I didn’t have a bass player, I agreed. He immediately joined my band and we went on to win the finals at the end of the summer. The park’s manager asked if we’d like to play in the park’s pub every Sunday and we agreed. We were a big hit in there.
After three weeks he approached us about playing in the large ballroom every Saturday night. We jumped at the chance. The place held 3500 people. He had Al Rainone’s 18 piece orchestra playing there, and drawing about 200 people. When they were fired and we were hired, Al, who was the head of the local Musicians union, threatened to close the park down since we weren’t union. Needless to say, we quickly joined the union. We played there every Saturday night to a packed house for at least five years.
Each week a different star artist or band would appear and do a 45 minute show. We played the rest of the time. We backed up most of the stars of the day. Jerry Lee Lewis, Freddy Cannon, Lou Christy, etc. We opened for The Kingsman, The Beau Brummels, The 4 Seasons, and many more. It was a great experience.
As an aside, I will tell you that after every Saturday gig, we would go to Dirty Nick’s hot dogs, in Fall River. A guy was working there who was at least 10 years older than us, and looked like a bum, and had horrible body odor. He seemed slightly retarded. His name was Joe Baker. Every week he used to beg me to let him sing with my band. He swore he sounded just like Elvis. Well after two years, I relented. He asked me if I could pick him up, since he didn’t have a car. I agreed. The next Saturday I picked him up and he had a bundle in his arms. I asked him what it was and he said it was his outfit. He opened it to show me. He had taken a suit and a pair of shoes and spray painted them gold and sprinkled on gold flecks. That night, he appeared with us, with no rehearsal and just a play list of Elvis songs in the original keys. I introduced him as Golden Joe Baker. So I named him. If you know of him, you know what a huge success he turned out to be (see goldenjoebaker.com. He was a big hit that night and not because he could sing like Elvis, but because he thought he could and went through all the motions and gyrations. He sang badly and the audience thought it was a put on and a hilarious one. But Joe was dead serious about being as good as Elvis. After that night I took Joe with us everywhere we went. He was a big hit at all the frat parties, etc. He ended up being a star of the longest running daytime show in Las Vegas history.
Besides Ricky and me, Bobby & the Galaxies also consisted of Pete Vanasse (Berklee School of Music) on sax, Don Facciano (New England Conservatory of Music) on Hammond organ, and Ron Kook Barrera on drums. Jerry Valle was the drummer for Bobby & the Galaxies for a few years. He ended up being the drummer/singer with the very successful Spi-Dells from Taunton.
We never released any records of our own, but we did back Johnny Locks on his local hit [“I Know You Want Me Baby” / “All I Want From You” from the second half of 1965], on the Locks label. Johnny was a local stock car driver at Seekonk Speedway. Our record would be played there every weekend. It also got some radio play.
Q. Someone on Youtube commented there may be a second 45 by Jonny Locks, “I Really Gotta Go” b/w “My Dead Girl”, and also a demo for “Long Hair and Mini Skirts”.
If Johnny Locks recorded other songs I am not aware of them, and they weren’t with my band.
Other than that we only recorded songs that were never released. “Tearing My Heart Out” / “Giggle Wiggle” is the only record we ever made. This was a demo recorded at Metcalf studios in New Bedford, MA around 1958.
This is the first iteration of Bobby & the Galaxies. The group consisted of me on vocals and guitar, Rick Philbert on bass and backup vocals, Dave Ray on drums, Boh Kiriutowski on sax, and Johnny Pastel on organ. “Tearing My Heart Out” was written by Carl Gastall, and I wrote “Giggle Wiggle”. This record was never released. [There was] a live taping that was done by the later and better version of Bobby & the Galaxies.
We did have offers for record deals, but could not work out a satisfactory deal. We were approached at our Lincoln Park gig, by some producers who wanted to feature us on a weekly TV show, out of Boston. They were going to call it Jamboree, and film it at Lincoln Park, but on a Tuesday night, not at the Saturday gig. It was to be a half hour show with one or two featured guest stars, and my band would be the house band, We would open and close the show with the theme song, Bill Dogget’s “Hold It”, do one featured song a week, and back up the acts that needed back up. It was filmed live with the kids dancing. We signed the contract and filmed four episodes that aired on WBZ, if I remember right. Unfortunately we couldn’t draw a large enough crowd on Tuesdays to finance the producers expenses so they stopped.
I was also involved with Jimmy Crane who owned Ribbon Records, and was a great song writer. He had hits with Elvis, Eddie Fisher, Timi Yuro and Joe Stafford. I was recording demos for him at Wye Records. We also represented WPRO in Providence at the Annual March of Dimes telethon and concert. We appeared on TV and also on the same bill with the Elegants, The Scott Brothers, Anita Bryant, Ritchie Adams and the Fire flies, and other stars of the day.
The Galaxies had an offer to go on the USO tour, for a year, which I rejected, and that caused a lot of dissension in the band. It was the start of the band unraveling. I had finished college, met my wife to be, and had planned on leaving town to get my Masters degree at U. Mass, in Amherst. I had already decided I was not going to pursue a career in music. Of course that meant leaving the Lincoln Park gig too. BTW, at U Mass I hooked up with a bunch of guys from Boston who had a band called the Esquires. I joined them while I was at U Mass. We were a Beatles tribute groups and we worked lots of frat parties. We were one of the two top bands there. The other was Taj Mahal.
After graduation I went home and reformed the Galaxies. I was able to get all of the original members back together. This was ’64. We worked at local clubs and bars, and started to do some society work in Boston. We worked with the Herb Zane Orchestra, as the “rock band” who would play during the orchestra’s breaks, at Debutante parties and such. In ’67 we had a disagreement about the musical direction of the band. The drummer Ronny was pushing to get Ricky out of the group and bring in his friend Manny, who was very good and sang well too, but the reason was to play more soul type music. Ronny didn’t think Ricky had the chops for that. He was wrong. However Ricky got so mad, he quit. Manny joined the group, and the arguments over the material we would play worsened. Three months later I left the group and joined Ricky again, and we formed the Farraris.
When I left the area in ’69, I was transferred to northern New Jersey. There I worked with many fine musicians playing parties and weddings, etc. I got to play at Sardis and the Empire room at the Waldorf Astoria in New York.
The music scene in Providence and So. E. Mass. was very rich with lots of talented people and groups. The Cowsills came out of Newport R.I. – I actually repossessed their Silvertone Amps when I worked for Sears. To my ears, The Fabulous Raiders were the best band in the area. A few that were outstanding that I remember were Cal Raye, The Spidells, Talk of The Town, Johnny & The Blue Jays, The Royal Coachman, Frankie James, Benny King & the Royal Jesters, Charlie Quintal, Paul Chaplin & Emeralds (Ct.), The Fabulous Raiders, The Blends, The Videls, Jim Scott & The Crusaders, Golden Joe Baker, and more. The only other Tuff Nuff artist I know was Charlie Quintal. Charlie was really good and played with Dicky Doo & the Don’t for a while. I was a member of Johnny & Blue Jays for about a year.
My old sax player Pete and keyboard player Don are still plying music today. Pete is with an oldies group at Foxwood Casino. Kings Row contains original members from several local groups and is also still active in the area.
You can also view my video on You Tube, Live at The House of Welsh w/ Ketron synthesizer.
Clockwise from bottom left: Martel Day, Reese Gwynn, Art Travis, Jeff Cooper, Dan Toomey, Jay Jacobson and Collis Alford
Click for larger image (3 MB)
|A couple weeks ago I posted a photo from a group and asked who was the band and what movie they were in. No one hazarded a guess, so I’ll give it away now, they were the Geatormen, and the movie was “Where Angels Go, Trouble Follows”, a silly and innocent comedy about a group of Catholic schoolgirls accompanied by nuns crossing the country to a youth rally. The screen shots (below) are from a scene where the band is lip-synching to the title song by Boyce and Hart.The Geatormen included:|
Collis Alford (trumpet
They were students at Brandywine High School in the suburbs of Wilmington, Delaware, where they played with the Brandywine Blazers. Somehow they met up with Jerry Blavat, “the Geator” and became the Geatormen, performing on Blavat’s TV show Discophonic Scene and appearing with him in live shows.
An article in the Delaware County Daily Times from April, 1968 also mentions them appearing on WFIL-TV’s The World Around Us, a daily morning show in Philadelphia hosted by Anita Klever.
They weren’t credited for their appearance in “Where Angels Go, Trouble Follows”, so it doesn’t seemed to have helped their career much. I believe only five of them are featured in the movie. After the filming, Martel Day was replaced by Bob Howe and Max Rarigh. A later lineup of the band included Nino Puglisi from the Stairways. I don’t know of any records released by the band.
Jeff Cooper posted a few additional photos of the band at the bottom of this page.
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.
The Myddle Class, circa late 1967: front and center Dave Palmer
behind him, from left to right: Myke Rosa, Rick Philp (wearing hat), Charles Larkey and Danny Mansolino
In the background on the left side: Bruce DeForeest and his girlfriend Ronnie
|Susan Palmer De Leon sent in these photos of the Myddle Class that I had never seen before, one an early shot of the group from circa late 1965, a few months after they had met Carole King and Gerry Goffin, and the other one from a couple years later.|
I have rewritten the article on the Myddle Class, see the current version here.
An early photo of the band, taken in Carole & Gerry’s backyard
Front to back: Myke Rosa, Rick Philp, Danny Mansolino, Dave Palmer and Charles Larkey
The Remains – ‘Let Me Through’ b/w ‘Why Do I Cry’
(2011 Sundazed S-231)
Review by Rebecca Jansen
“The new single by The Remains,” now doesn’t that alone sound good? Fortunately this vinyl debut of an original Barry Tashian and Vern Miller composition does sound very good indeed! Performed live on Ed Sullivan’s CBS television studio stage, Sunday December 26th, 1965, Barry’s snarling Guild lead guitar is in good form as the group soars (and sometimes stumbles, true) through some Psychotic Reactions style tempo changes. Very fearless on a national show with a song only cooked up a couple weeks before! Topo Gigio was probably forced into hiding while this punky racket was flowering, not that the sound quality is at all lacking with the minor exception of some audience applause at the start and again at the conclusion.
Sundazed’s sleeve is based on a vintage picture sleeve used by Epic, same design but different shot from the same photo shoot, and it’s that attention to detail that keeps Sundazed high in afficianados’ regard. The flip is a version of “Why Do I Cry” from the essential Session With the Remains LP also available through Sundazed. This single is more fun than Senior Wences’ plate-spinner eating goats; I predict it’ll be really beeg with all the kiddies in the garage!
This 45 is available through Sundazed.
Rebecca Jansen’s writing and artwork can be seen at Hippies stole my blog! *.
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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”