Category Archives: Ikon

Frantic Records, Vardan Records, and Arvey Andrews

Business card for Psycho, from Chico, with Guy Williamson and Marty Howard’s contact info

Arvey Andrews headed two record labels in 1965 and 1966, Frantic Records and Vardan Records. He was also part of Management By Martin, Inc., with George Martin and Robert Clark. George Martin co-produced some of these singles and handled bookings for the groups.

In 2020 I bought a collection of records and 1/4″ tapes that belonged to a previously unknown investor in Management By Martin. I am not disclosing his name at this time, but he is now in his mid-90s. He was a colonel in the Air Force, and obviously a music enthusiast. One could map his likely military postings from his record collection: Ty & Johnny on Red Wing suggests Eglin Air Force Base near Pensacola, FL, and Wailers & Sonics records obtained while stationed at McChord Field near Tacoma.

At Beale AFB in Yuba County he met Arvey Andrews, who would involve this officer in his Frantic and Vardan operations. It would be a fruitful but one-sided association. This investor would describe his dealings with Andrews in an Air Force Statement of Witness dated March 2, 1970:

… while stationed at Beale AFB, California I became a stockholder in a corporation known as “Management by Martin, Inc.,” a firm which handles bookings and recordings by “rock and roll” groups. Other members of this corporation at its inception were Captain Arvey I. Andrews (hereafter called Subject), George Martin and a Robert Clark. I contracted a law firm known as Athearn, Chandler and Hoffman, 593 Market Street, San Francisco California to represent me and to establish the corporate structure of Management by Martin Inc. I am the Secretary-Treasurer of this corporation …

I noted that shortly after Management by Martin began to move forward that certain high expenses at Ikon Recorders … as well as fees paid to Lance Associates, a “public relations outfit,” might cause the business to fold… I told the other partners of the corporation that I would remain as a corporation officer but would no longer make financial contributions to the corporation’s support. Also, at this time, I told Subject [Andrews] that he must commence paying back the indebtedness. At that time, I believe it was the spring of 1967, Subject repaid me $100.00 a month for three consecutive months and stopped shortly thereafter. I told Subject that if he did not continue with the monthly payments, I would resort to legal action to recoup the loaned monies. Shortly after this, I became knowledgeable of Subject’s filing for bankruptcy.

These unfortunate transactions seem to have ended this investor’s involvement in the music business, though he continued to collect records and radio shows into the ’70s.

This Management By Martin, Inc ad ran in Billboard every week from April 30 – July 30, 1966
The bankruptcy probably harmed Arvey Andrews as well. He remained involved with the Lovers as they changed their name to the Pacesetters and signed to Liberty / Minit, but I don’t believe he produced or released music again. Andrews would reach the rank of major by 1970, before retiring from the Air Force. On May 12, 1982 Andrews incorporated the Vardan Recording Institute of America at 1108 Black Knight Drive in Valrico, Florida, but I know of no releases from this company. Arvey Isaacs Andrews died on April 5, 1994, aged 59.

In the collection were at least one copy of every Vardan and Frantic single except Sonny Oliver & the Statics on Vardan, and the Boy Blues “Coming Down to You” / “Living Child” on Frantic. Most of these were promo copies, and there were multiple stock and promo copies of the Boy Blues “Living Child” / “Think About It Baby” on Vardan. There were Emotions singles on Gate and Philips as well as the Vardan issue.

There were also a couple 45s on Ikon. Along with Golden State Recorders in San Francisco and Sountronic Recording Studios in Lodi, Arvey Andrews used the Ikon studio, but I do not believe he was involved in any releases on that label.

Many of the records have warping and/or insect damage from years stored in an attic.

The Lovers “Leave Her” test pressing

Below is a description of the unique items:

The Lovers unreleased test pressing

Most notable among the 7″s was a styrene test pressing of two unreleased songs by the Lovers, “Leave Her” / “The E.T.”, numbered 2125 / 2126. For some reason Andrews did not release that single, and those numbers appear on the Styx single “My Girl” / “Stay Away” on Frantic Records CR-2125/CR-2126.

Test pressing for Psycho’s “You Think You’ve Got Me” / “Need Me”, released on vinyl as Frantic Records CR-2127/CR-2128

Psycho test pressing

There was also a styrene test pressing for Psycho’s “You Think You’ve Got Me” / “Need Me”, released on vinyl as Frantic Records CR-2127/CR-2128. The dead wax codes are in a different hand than the released version, though the versions sound identical.

Both test pressings are stamped June 13, 1966.

Also included were two test pressings of Custer and the Survivers, “I Saw Her Walking” / “Flapjacks”, which saw release on Golden State and Ascot. Production was by Shower Of Stars, another company of George Martin and Arvey Andrews with a Yuba City address.

Golden State acetate 45 of Psycho “Need Me”

Psycho acetate, and “What’s in the Bag, Goose” demo

Also in the collection were two acetates. One is a Golden State Recorders acetate 45 of Psycho “You Think You’ve Got Me” / “Need Me”; same versions as the released single. The Psycho business card at top was found in a tape box.

Audiodisc acetate 45 of “What’s in the Bag Goose”

The other was an unlabeled Audiodisc acetate with one song, “What’s in the Bag, Goose”. This cut also appears on two other 1/4″ tapes, one dated January 22, 1966. Apparently Drusalee and the Dead cut “What’s in the Bag, Goose”, however, there is no organ on the cut, and it doesn’t sound much like their Vardan single. Hear an excerpt.

The song is a novelty take on a Granny Goose potato chip commercial, with song writing credits to Nick DeCaro, Dave Pell, and Joe Saraceno. I like this performance more than the only released version I know of, from the T-Bones LP, No Matter What Shape (Your Stomach’s In).

Sountronic Recording Studios sheet in tape box compiling Frantic masters by the Lovers, Mystic, Boy Blues and D. Witherspoon

Sountronic Recording Studio tape

One of the tapes had ten songs compiled from the master recordings in either mono or 2 track stereo, according to an info sheet from Sountronic Recording Studios at 880 East Pine St., Lodi, CA. Dated September 22, 1966. Included are the A and B sides of four singles from the Frantic label: The Mystic’s “Weekend People” / “I Get So Disgusted”, the Boy Blues “Coming Down to You” / “Living Child”, and D. Witherspoon and the Future, and the Lovers “Without a Doubt” / “One Way to Love”. Also included are two songs by the Lovers with the Harlem Brass that never saw release: “She’s Supreme” / “Truly Truly”.

“She’s Supreme” has only been known on acetate. “Truly Truly” is a backing track without vocals. Alec Palao tells me it is the same backing track used on a rare single by the Kashos on Work Records 45-827, which I haven’t heard. Stanley and Archie Casher wrote that song, and possibly the backing track was reused from the Lovers session.

Joey D. told me that this is the first documentation from the Sountronic Studio that he has ever seen. This tape may be the only tape source for these songs in existence.

Tape box with unreleased cuts by Boy Blues, Psycho, and Drusalee & the Dead

Tape of unreleased songs

Another interesting tape was faintly labeled in pencil with only band names, but contains unreleased songs by the Boy Blues, Psycho and Drusalee & the Dead.

The Boy Blues cuts are both originals. The best, titled possibly “Baby Doll”, has a fuzz riff, tasteful use of horns, an extended guitar break and double-time ending.  “Little Red Rooster” is not the Howlin’ Wolf standard but a light original with a more prominent horn arrangement.

The Psycho cut is “That Girl”, a good jangly original song with excellent harmonies.

The last two cuts are “What’s in the Bag, Goose”, as discussed on the Audiodisc acetate above, and a ballad. Although the tape box suggests Drusalee and the Dead, neither song sounds like the Vardan single.

Audio quality and occasional drop-outs suggest this tape is a later generation copy.

Stereo rehearsal tape by Psycho
Mono rehearsal tape by Psycho, the two original songs are early versions of “That Girl” and “You Think You’ve Got Me”

Psycho rehearsal tapes

There are two rehearsal tapes by Psycho. The first contains all cover songs, and is recorded in stereo. Two songs featured on the Up From the Grave CD were taken from a cassette in mono, so this tape is an upgrade.

The second tape is in mono, but includes a couple of originals as well as more cover songs. There are two takes of “You Think You’ve Got Me” titled “Why Can’t You Say” on the tape box. The vocals are upfront; the band’s harmonies are very good at times. I appreciate hearing these early versions, even with some rushed tempo changes.

The other original is “My Girl” perhaps more appropriately titled “Without That Girl”, which did not appear on their Frantic single.

They do a good job on many of the cover songs, and it’s cool to hear them try “It’s No Use.” The singers forget a line in the last verse of “Turn Turn Turn”.

Lastly, there’s a tape of a folk group with vocalist Sandy Knox, recorded at Ikon.

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Members of the bands mentioned in this post (sources include notes to Up From the Grave and 60sgaragebands.com):

The Emotions & Lovers (Beale AFB): James Gregory (Greg), Daniel Saunders, Melvin Williams, McHenry Otis (Mike), and Bob Coleman

Psycho (Chico): Bob Williamson, Marty Howard, Jim Conley, Ron Murphy and Randy Reaves

Boy Blues (Chico): Jim Conley, Randy Reaves, Rick Wagner, Bob Brien, Mark Cipolla, Chris Howard, John Palmer, and Jeff Gadbois

Drusalee & the Dead (Marysville): Drew Sallee, Ernie Apodaca, Bob Covic, Bob Rathbun, Gordon McCollum, and John Piper

Statics (Marysville): Sonny Oliver, Freddie Bidasha, Johnny Rollins, Frank Lester

Custer & the Survivors (Oroville): Gary Gibson, Jodell Bruce Payseno (Jody Payseno), Mike McLoughlin, Bob Blade, Martin Blade, Richard Daugherty, and Claire Hinton

Mystics (Boise, Idaho): Tim Woodward, Vance Shirley, John Hynes, Rich Smith, and Dennis Schaffner

Custer and the Survivors Management By Martin promo photo

Thank you to Gary Gibson Jr. for sending in the photos of his father’s band, Custer and the Survivors. The group cut two unreleased songs at the same Los Angeles session as “I Saw Her Walking” and “Flapjacks”, including “With Love in Her Eyes”.

Custer and the Survivors photo
Custer and the Survivors, Custer with the goatee, second from left. Other personnel unknown.

The Denny and Kenny Duo

The Denny & Kenny Duo at GG's in Davis, CA, from left: Kenny Whitcombe on organ and Dennis Sacco on drums
The Denny & Kenny Duo at GG’s in Davis, CA, from left: Kenny Whitcombe on organ and Dennis Sacco on drums

Denny and Kenny Duo Ikon 45 Meet My Little Sweety In the Night TimeThe Denny and Kenny Duo were Kenny Whitcombe on organ and Dennis Sacco on drums. They came from Davis, California, where they played regularly at Gi-Gi’s night club.

“Meet My Little Sweety In the Night Time” immediately grabs the listener with its speed and echo. I find Sacco’s drum fills endlessly entertaining. The flip “I Love You So” is also good, if not as original. Kenny Whitcombe wrote both songs. Released on Sacramento’s legendary Ikon Records IER 179/180 in 1965.

I’ve always loved this single since hearing it on Crypt Records’s fantastic “The Ikon Records Story”. I finally found a copy, signed by Dennis Sacco! For two people they raise a huge racket.

Whitcombe came from the Carpetbaggers with Dehner Patten who would go into the Oxford Circle and Kak. I’m not sure if this was the same Carpetbaggers from Sausalito who had the single “Let Yourself Go” / “Just a Friend” on the LTD International label in mid-1966. Sausalito is an hour and a half from Davis, but it’s not inconceivable.

Whitcombe opened another Davis club, Mousey’s, and eventually the duo split up. Sacco played with the Daytrippers, then with the Sacramento’s Burgundy Express, and now is pursing a writing career.

Dennis Sacco wrote to me a little about the group, and added more history to the notes for a CD of later, jazzy recordings that he and Kenny did either together or separately.

As a drummer I grew up listening to Gene Krupa, then Joe Morillo and then Louie Bellson.

Back in 1965, Denny and Kenny started playing at GG’s, a little beer bar in Davis, California. Soon, their reputation and fans out grew GG’s. Kenny built a bigger night spot in Davis called Mousie’s. Between GG’s and Mousie’s, Denny and Kenny played in Northern Caliornia and Nevada. During this period, Denny and Kenny cut a record at Ikon Records in Sacramento, California.

Denny and Kenny were a great match. Denny used a Ludwig double bass drum setup and Kenny used a Hammond organ kicking bass pedals. They both did vocals and backup. Many people thought that they were listening to at least four players. They don’t perform as a duo anymore. But each of them, separately or together, have made a few recordings. Included in this album are Kenny’s beautiful and “original” songs (ala 40s style) and some of Denny’s earlier big band recordings for you to listen and enjoy.

There’s a small but interesting genre of organ and drum duo records that include the Me and Him Duo and the Chancellors b-side “5 Minus 3”.

Denny and Kenny Duo Ikon 45 I Love You So