Category Archives: US

The Sound Track on Trail and Action

The Sound Track Trail 45 I See The Light

The Sound Track are another unknown group, probably from the area around Kingsport, Tennessee, more than four hours east of Nashville.

Their first single has two cover songs, including one of the best versions of the Music Explosion’s “I See the Light” (E. Chiprut) b/w “Groovin’”. It came out on Trail Records TSRC-1706 in November 1967. It’s a Rite pressing, #20781/2, account #400.

Trail Records came from Kingsport, TN, and had many other releases, mostly gospel. Early releases such as the Grim Reapers “Under My Thumb” / “See See Rider” (Trail TSRC-1702) have a diamond logo and list Tri-State Recording Co. and 1767 Fort Henry Drive. Some later releases such as the Downbeats “Pain” / “Got To Get You Into My Life” (Trail SRC-1736) have a rustic logo with pine trees and “Trail” spelled out in wood logs.

The Sound Track Action 45 Face the New DayOver a year later the Sound Track put out their second single, this time featuring two band originals. “Face the New Day” has distorted guitar riffs repeating throughout, and solid backing of organ, bass and drums. It sounds almost like an English freakbeat track. Ron Allgood and Jerry Melton wrote the song, they were probably members of the band.

The flip “People Say” is also good, and the composer credits give six names, probably most of the band: Ron Allgood, Jerry Melton, T. Melton, Layton Bentley, Kim Dillard and B. Richmond. Copyright records give B. Richmond’s full name as Randy Richmond. The release came on Action 101, with the codes WS 1000 and PRP 7731/2.

The Sound Track went to Nashville to make their Action single. It was produced by Hoss Linneman and Al Gore, two country musicians with many recording credits to their names. Washington Square Music, BMI published both songs. This was a very rare single until 15 or more copies turned up in August, 2016.

The Sound Track Action 45 People Say

The Rogues on Regan

Rogues Regan 45 Heavy MusicThe Rogues recorded two singles on Regan Records circa 1968-1969. They seem to be from Michigan, and the “Capital City Music” publishing on the one original song they recorded may refer to Lansing.

Their first 45 has good versions of Bob Seger’s “Heavy Music” b/w” a cover of “Born in Chicago”, released on Regan R-0021 with IRM #1039.

The second single has an original song, “Something Called Humanity”, written by Bill Goik and Richard Jantz. Publishing by Capital City Music BMI, released on Regan R-0022, with IRM-1067. This was the flip to a version of “Summertime”.

If anyone has a scan or sound clip of “Something Called Humanity” please contact me.

Steve Donahue produced both singles, the second has a credit to Don Kemp for engineering. I can’t find their names in connection to any other releases, nor can I find any other releases on this Regan Records label.

Other members of the band included Rick Brunson – drums, and Dennis Parker – keyboards.

This copy of “Heavy Music” came from the collection of David Martin, with special thanks to his family.

The Chambermen of Spokane

Chambermen of Spokane, photo 2

Chambermen 45 Louie Go HomeMany bands tried their hand at “Louie Go Home”, an original by Paul Revere and Mark Lindsey released as Paul Revere & the Raiders’ second Columbia single, “Louie Go Home”, in early 1964.

Some of the best versions are the Mussies of South Haven, Michigan who cut it on Fenton, the Fugitives of San Antonio on Alamo Audio, and the Missing Lynx of Lawrenceburg, Tennessee, who have it on the flip of “Hang Around” on United Sounds 100.

Chambermen 45 Midnight HourOne of my very favorite versions is by the Chambermen, a sextet from West Valley High School in Spokane, Washington. Their version of “Midnight Hour” on the flip is good too.

Lanny Beck wrote to me with information on the band and the photos seen here:

We started playing together in 9th grade, winning a talent show contest, which encouraged us to continue through high school. Don Hines [lead vocals, rhythm guitar] was with us in the early years along with Pat Teague – bass player. Steve Myers joined our band shortly after Steve Mauss, sometime around ’66 or ’67. Jim Reiter later replaced Pat. The members of the band: John Conant, drums; Jim Reiter, bass and lead vocals; Steve Mauss, saxophone and lead vocals; Steve Myers, keyboard; Lanny Beck, lead guitar.

We won the Spokane Battle of the Bands in 1967 and recorded “Louie Go Home” and “Midnight Hour” at Spokane Recording Studios. Steve Mauss sang lead vocal on both sides of our record. This was the only record that we made, which was promoted by the local radio station, KJRB, for winning the battle of the bands.  We played at many high school and college dances throughout the Spokane and north Idaho region. 

Chambermen of Spokane, photo 1

I assume production on the record was by Larry Wacholtz of 4111 Willow in Spokane, whose name is on the label.

John Conant and Don Hines have since passed away.

Thank you to Lanny Beck for answering my questions and providing the photos included here.

Chambermen of Spokane, photo3

The Del-Fi’s on DC Records

The Del Fis profiled on May 29 1965
The Del-Fis profiled on May 29, 1965

Del-Fis DC 45 Now It's Time

The Del-Fis formed in Bethesda, Maryland in 1964. Members were:

Craig Brown – lead vocals
Steve Brust – lead guitar
Bob Swain – rhythm guitar
Budge Witherspoon – bass
Jim Callas – drums

Fifi Gorska penned an article on the band for the Teen section of the Washington Evening Star on Saturday, May 29, 1965. The article has some great quotes from Bob Swain: “they talked in Greek, but we played in rock” (when the band appeared on WPIK’s Greek show), and his description of singer Craig Brown making up new versions of nursery rhymes, “sentences like a barrage of multiple karate chops to the left pancreas, each one more devastating than its predecessor” [what’s the left pancreas, anyway?]

There’s also a list of their cars (Model A, Ford Mustang, 442 Olds and Chevy II) and mention of girls wearing the Del-Fis name on their “swamp” coats (long rain coats, a fashion fad in 1964).

At the time of the article, Craig Brown, Bob Swain, Jim Callas were students at Walter Johnson High School; Steve Brust and Budge Witherspoon attended North Bethesda Junior High School, all were between 14 and 16 years of age. Their manager was Toby Long, a fellow student at Walter Johnson.

In August of 1965, the band went into the studio to record two original songs for Lillian Claiborne’s DC Records. Craig H. Brown and Steven N. Brust copyrighted both songs in August, 1965. The great side is “Now It’s Time” with it’s chiming guitars, excellent rhythm section and perfect teen vocals.

The flip is “Without You”, a harmony ballad with a finely picked melody, a good one for the slow dance, I guess.

DC Records released this with two label colors: yellow and the pink/fuschia seen here. The article says they did away with the apostrophe in Del-Fi’s but there it is on the label.

I found the article at top 12 years ago while scanning through the microfilm of the New York Public Library, but hadn’t put it together with the band on the DC single until now. If anyone has a better quality photo please contact me.

Del-Fis DC 45 Without You

The Shanels

Shanels Dee-Jay 45 Why Did I

The Shanels came out of New Haven, Indiana, a town just east of Fort Wayne. The only band member’s name I can find is Marvin Larue, who wrote both songs on this single. “Why Did I” is a stomping Stones-influenced song with harmonica wailing throughout.

The band changes instruments for the ballad flip, “I Really Care For You” utilizing 12-string guitar and organ instead. Vocals are sung in unison for both songs.

West Haven Pub. Co published both songs through BMI, where I found M. Larue’s full name. Timothy Cox of 60s Indiana Band Szene wrote in a comment on Artyfacts in Wax that “every ‘West Haven’ publishing I’ve seen, and I’ve seen a few, is from Ft. Wayne Indiana. Surf Suns, Olivers, Chessmen, and Blues Inc, all shared this.”

From an online obituary, it seems that Marvin LaRue passed away on September 26, 2004 in Minnesota. In 1963 he graduated from New Haven High School and then attended Purdue University.

According to Teen Beat Mayhem, the record dates to February 1965. The number “SS-3886” indicates a pressing by Stereo Sound in Chicago.

Shanels Dee-Jay 45 I Really Care For You

Billy Sandlin and the Interns

Billy Sandlin came from Ocala, Florida, starting his recording career in 1959 with the tough-sounding “She’s Mean” b/w “Don’t Let Me Down”, released first on Vim Records then on Gala. From the start he showed an ability to sing a wide range of styles, from uptempo rock to melancholy ballads.

In 1961, Sandlin had a second single on Gala, “Teenager’s Dream” in a slow doo-wop style b/w the latin-ish “Cha Cha Bop”. Around 1962 he left for Germany, presumably for military service.

Overseas he cut a neat rocker called “My Little Twisting Baby” with a local group known as the King-Tones, but it wasn’t issued until he returned to the U.S. in 1963, as Billy Sandlin with the Strangers and the Bluetones on Strike Records.

Billy Sandlin and the Interns Royale 45 Poor Rich GirlNext came a single on Viking Records, “You’ll Always Have Someone”, produced by Larry Montague and still very much in a teen style, released circa 1964, though I could use confirmation of that date.

In 1966 he found a tougher accompaniment by the Interns for the fine “Poor Rich Girl”, especially in the repetitive guitar line, and Sandlin’s voice really suits this hard r&b style. The b-side “Here Comes That Feeling” is very good downer garage. My copy is on Royale 1966.326, but others exist with the label name changed to Royala, which would match his next single.

Later that year came Royala 1966.329, “I Kept On Walking” written and sung by Billy Sandlin with ‘the Interns Orchestra’, b/w “Sweet Loving”, sung by Ace Perryman and written by Stewart and Perryman. I haven’t heard either song yet. “I Kept On Walking” was also the b-side of Sandlin’s single on Viking. This single and “Poor Rich Girl” both credit Jack McGowan for management.

Jack McGowan owned the Teen Time Club in Ocala, according to a short article in the Ocala Star-Banner from 1967, and I think Royala/Royale was his label. I believe he is the same Jack McGowan who produced the The Great Masquerade, also known as The AC/DC Caper, filmed in Miami in 1973.

The Sounds of Sandlin photo: Henry Rawls, John Tabor, Andy Facundus, J.W. Howell, and Billy Sandlin
The Sounds of Sandlin, from left: Henry Rawls, John Tabor, Andy Facundus, J.W. Howell, and Billy Sandlin

Sounds Of Sandlin National Guild Recording Studios Acetate 45 Come On Up To My WorldCirca 1969, Billy Sandlin was the singer on two demo acetates recorded at National Guild Recording Studios as Sounds of Sandlin.

John Tabor sent in the photo seen here and gave the lineup of the group:

Henry Rawls – vocals & trumpet
John Tabor – vocals & lead guitar
Andy Facundus – bass guitar
J.W. Howell – drums
Billy Sandlin – vocals & rhythm guitar

“Come on Up to My World” and “Dream Train Ride” are solid psychedelic numbers, while “Sunshine” is a quiet ballad in a folk or country-rock style, and “I Need You” has fuzz guitar but is more of a pop song. All four songs feature two vocalists singing each line of verse.

National Guild Studios were located in Orange City about an hour and a half east-southeast of Ocala. I’ve heard clips of both thanks to Jameson Sweiger, who took the photos of the acetates seen here and gave me some background on them.

Sounds Of Sandlin National Guild Recording Studios Acetate 45 Dream Train RideThe acetates came from Larry Montague, who produced Billy’s single on Viking.

Jameson wrote: “Larry had a full album from the sessions of these 45s that was to be released but shelved after his death and never released. Larry had the original reel to reels when I met him. Sandlin apparently was in movies or working on movies at the time of these 45s.”

Sandlin next joined with Barry Winslow of the Royal Guardsmen for a single on Mega, “Have You Seen a Rainbow Lately” / “Peace Time” that got a good mention in Billboard in November, 1971.

Billy Sandlin also recorded two songs I haven’t heard, “Turn Me On” / “Country In The City” that exist on a Capitol custom 8″ demo, I’m not sure of the year.

Tragically, Billy and his wife Melinda were killed when their car was hit by a drunk driver fleeing the police in Ocala in February, 1973.

Billy Sandlin discography:

Vim Records 1006 – Billy Sandlin – “She’s Mean” (Sandlin, pub. by ThreeWay BMI) / “Don’t Let Me Down” (1959)

Gala Records 45-110 – Billy Sandlin – “She’s Mean” / “Don’t Let Me Down” (1959)

Gala Records 45-115 – Billy Sandlin – “Teenager’s Dream”/ “Cha Cha Bop” (Sandlin) (1960)

Strike Records S-103/4 – Billy Sandlin with the Strangers and the Bluetones – “My Little Twisting Baby” (Sandlin) / Billy Sandlin and the Strangers – “My Little Star” (P4KM-5346), recorded in Germany with a group also known as the King-Beats, but issued in the U.S. circa 1963.

Viking Records 1001/2 – Billy Sandlin and the Embers – “You’ll Always Have Someone” / “I Kept on Walking” (Sandlin, pub. by Montague Music), produced by Larry E. Montague

Royale 1966.326 – Billy Sandlin with the Interns – “Poor Rich Girl” / “Here Comes That Feeling” (1966) prod. by Jack McGowan

Royala 1966.329 – Billy Sandlin with the Interns Orchestra – “I Kept On Walking” / “Sweet Loving” (sung by Ace Perryman), 1966

Mega 615-0044 – Winslow & Sandlin – “Have You Seen a Rainbow Lately” (Barry Winslow-Barry Sandlin) / same (1971)

Unreleased demos:

Sounds of Sandlin – “Come on Up to My World” / “Sunshine” (National Guild Recording Studios demo, late ’60s)
Sounds of Sandlin – “Dream Train Ride” / “I Need You Girl” (National Guild Recording Studios demo, late ’60s)
Billy Sandlin – “Turn Me On” / “Country In The City” (Capitol Custom 8″ acetate disc, date unknown)

Sources include That’s All Rite Mama

Billy Sandlin and the Interns Royale 45 Here Comes That Feeling

The Xanadus

Xanadus Angelus 45 Before the DawnXanadus Encore 45 Before the Dawn

I mentioned the Xanadus when I wrote about Angelus Records, a label for Christian music based out of Lorin Whitney’s studio in Glendale. The Xanadus first single was on Angelus, even though it was not a religious record. On hearing their second single recently, I decided the Xanadus deserve their own entry.

Their first single, “Before the Dawn” features a basic ensemble of lightly-amplified guitars, tambourine and harmony singing. “Little Girl” is a ballad, even more low-key than the A-side. Both songs are on youtube but not in great sound quality. It came out on Angelus WR-4442, and then the band reissued it on their own Encore label with the same catalog # 4442.

Xanadus Encore 45 You Turn Me OnThere are only a few instrumental or pop releases on Angelus. The Xanadus single is more pop in style and subject matter, but it’s so light and innocuous it doesn’t clash with the typical Angelus subject matter.

However, there’s no way Angelus would allow the band to use the label for their second 45, the salacious and amazing “You Turn Me On” / “Bankrupt Bothered & Bewildered”, released on Encore 4443. These are sharp, cutting rockers, with good guitar breaks. “Bankrupt Bothered & Bewildered” sounds like it was recorded live, shouting and hooting in the background.

Photos in the videos are different bands.

Angelus WR-4442 – “Before the Dawn” (Boyd & Adams) / “Little Girl” (Wray) produced by J & R Productions
Encore 4442 – Xanadus – “Before the Dawn” (Boyd & Adams) / “Little Girl” (Wray) (WR-4442-45) released Feb. 1965
Encore 4443 – “You Turn Me On” / “Bankrupt, Bothered & Bewildered” released April 1965

Both Encore releases have publishing by Shat-Shep Music BMI.

At this time I know nothing about the band.

The Shat-Shep Music credit shows up on at least a couple other singles of the period. One is Gail Da Corsi ‎– “I’ve Lost In Life” / “Touch Of Yesterday” on Dolton 314. The other is the Universals “I’m In Love” / “A Love Only You Can Give” on Shepherd SR 2200, a doo-wop style 45 from 1962.

Another Shepherd release, though without the Shat-Shep credit is Ritchie Marsh “They Say” (Pat Vegas, R. Marsh, pub. by Debutante Music) / “Darling I Swear That It’s True” on Shepherd SR-2203. Ritchie Marsh is better known as Sky Saxon.

The Shepherd label came out of Hollywood.

Thank you to Dan Peterson for the scan of the Angelus 45. If you have better scans of the second Encore single, please contact me.

Anyone have more info or a photo of the band?

The Front Office “Wow” on Mijji

Front Office Mijji 45 WowThe Front Office single on Mijji seems to be a combination of two different recording groups. The A-side “Girl” is polished, Motown-type soul, written by Steve Cook and arranged by Val Garay (who would go on to engineer and produce many high-profile acts in the 1970s and ’80s) and Mark Holly.

The instrumental flip side is something else altogether. “Wow” is first-rate psychedelia done by a band who knows what they’re doing and don’t hold back. The song writing credit goes to Gilbert Day, who is also credited as producer with G. Zacharisen (possibly George Zacharisen). Satori Music, BMI published both songs, released on Mijji M3007 in 1968.

Beyond those names, the identity of the musicians on “Wow” is a mystery. This was the last release on Mijji, which had a handful of other singles. Sound 70 had two singles on Mijji:

Mijji M-3002 – Sound 70 – “There Is No Reason” / “Seven Day Fool”
Mijji M-3004 – Sound 70 – “One Too Many Mournings” / “Chicago Blues”

Day-Gardner-Brown produced both singles, and other than song writing and publishing credits for the cover songs, “Seven Day Fool” and “One Too Many Mournings” (sic), there are no other names on the labels. Sound 70 played live around San Mateo, Belmont and San Carlos, California, adjacent towns on the peninsula between San Francisco and San Jose. Sound 70 seems to have come out of the Bundles, whose songs “Mark My Words” and “Watch Me Girl” went unreleased at the time but now appear on the Big Beat CD Dance With Me: The Autumn Teen Sound.

Judging by “There Is No Reason” and the heavy drums on “One Too Many Mournings”, Sound 70 had the ability to cut a track like “Wow”, but that’s only speculation.

The only other single on Mijji that I can find is by the Venus Flytrap:

Mijji M-3005 – Venus Flytrap – “The Note” / “Have You Ever” (both by Donald Danielli – Daniel Sanchez, prod. by Gilbert Day, published by Guard Music, BMI)

The original release came on Jaguar Records J-103, owned by Barry Wineroth. It was a hit in the Santa Barbara area, but the Redwood City band also had a following in the South Bay, which may be why Mijji repressed it.

If anyone has more info or photos on the bands, please contact me.

Front Office Mijji 45 Girl

Chetwyd Records Discography

Ed Commons started Chetwyd Records in Lexington, Kentucky in 1966. Ed wrote to me with some info about the label:

Walt Harper Quintet Encore Custom LP Harpers Ferry
Walt Harper Quintet LP on the Encore Custom label, recorded at Encore Electrical Recording Co. Pittsburgh, 1962

I had a label and recording service in Pittsburgh PA, (Encore Electrical Recording Company, label Encore Custom) before coming to Kentucky in the summer of 1965. Chetwyd preceded House of Commons. HOC began in in 1972, I believe, and the label was by then no longer in production. Currently I am the Producer/Director of Red Barn Radio, just getting ready to finish our 14th season.

Pepper and the Shakers were a Lexington group, not the one that recorded in New York [the Westland, Michigan group who cut “Semi-Psychedelic (It Is)” / “I’ll Always Love You” on Coral 62523]. There are pix of all artists, and some press and release materials. 
 
CW-45008/9 numbers were held for sessions of the Iris Bell Trio, and were never released.

You show 45010 with a yellow label, there was a re-release with a purple label, the masters were –re eq’d, and re-mastered. The yellow actually has the better sound, and would be preferred.

45001-45007 were release as standard mono 45’s. CW-45007 was released in Compatible Stereo as were both versions of CW-45010.

45s:

CW-45001 – One of Hours – “It’s Best” (Foreman – Bogliole) / “Trifolia” (Foreman – Flynn -Bogliole) 1966, both songs pub. by Chetwyd BMI
CW-45002 – Pepper and the Shakers – “For My Babe” (Oliver Pepper Burdett) / “Need Your Love” (Clarence Scott, Joe Baltimore), 1967. both songs pub. by Chetwyd BMI
CW-45003 – Marshall Jones and the 4th Dimension “It’s Not Unusual” (Reed) / “Maryland Farmer” (Clements)
CW-45004 – Pat and Barbara – “Don’t Let The Sun Catch You Crying” / “Noah” 1967
CW-45005 – One of Hours – “Feel The Pain” (Foreman – Flynn – Bogliele) / “Psychedelic Illusion” (Foreman – Willcutt) both pub. by Chetwyd, BMI (RI 2392D/E) Spring 1967
Intimate Cyrcle Chetwyd 45 SomedayCW-45006 – Maltese – “You Better Stop” / “I Want To Talk To You” both by Akers for Chetwyd BMI 1967
CW-45007 – Universal Sound – “What Now?” / “Keep On Running” 1967
CW-45008 – no release
CW-45009 – no release
CW-45010 – Intimate Cyrcle, lead Cal Settles – “Someday (You’ll Be Breaking My Heart)” by Lisa Palas, Gene Deaton / “A World of Love” prod. by Ed Commons

7″ EP:

CWCM 1001 – “The Real Meaning of Christmas” written and narrated by William Rowe (Children’s Series – 33 1/3 RPM, mono only)

Pat and Barbara Chetwyd LP There Is A TimeLPs:

CWM 66003 – Jack Bailey – When Your Lover Has Gone (mono)
CWS 99003 – Jack Bailey – When Your Lover Has Gone (stereo)
CWM 66004 – Pat and Barbara – There Is A Time (mono, 1967)
CWS 99004 – Pat and Barbara – There Is A Time (stereo, 1967)

Although some singles note publishing by Chetwyd BMI, I can find no record of Chetwyd songs in the Library of Congress listings. See the entries on this site for more info on the One of Hours and the Maltese.

Thank you to Ed Commons for his help, and to Max Waller.

The Maltese of Lexington, Kentucky

The Maltese, February 1967, photo courtesy of Ed Commons
The Maltese, February 1967, photo courtesy of Ed Commons

Maltese Chetwyd 45 You Better Stop

The Maltese came from the Winchester, Kentucky area, about 20 miles east of downtown Lexington. They cut one single for Chetwyd Records of Lexington, “You Better Stop” / “I Want To Talk To You” both written by Akers for Chetwyd BMI, released on Chetwyd CW-45006 in 1967.

“You Better Stop” has sustained fuzz notes and sounds something like the Who’s “Out in the Street”. “I Want to Talk to You” is more like the Stones doing Solomon Burke. There’s nightclub noise running in the background but it’s not quite Got Live If You Want It.

Hear excerpts of both sides. I’m not sure where I found this clip, probably from a record auction.

A few months ago I posted about another group called the Maltese, based out of northern Kentucky communities like Covington, Elsmere and Erlanger, but that was an unrelated group.

Thank you to Ed Commons for sending in the photo of the band and clearing up my confusion of the two Maltese, and to Barry Wickham for the scan of the Maltese 45 label.