Category Archives: Not garage

Roscoe Mitchell and Malachi Favors Maghostut / Horace Tapscott and Roberto Miranda at James Moore Theater, October 16, 1993

Roscoe Mitchell, Malachi Favors Maghostut, Horace Tapscott, Roberto Miranda at the James Moore Theater, Oakland Museum, October 16, 1993 ticket stub

I came across this ticket stub for a “Double-Up” concert produced by Koncepts Cultural Gallery on October 16, 1993 at the James Moore Theater in the Oakland Museum. The concert featured two duos, Roscoe Mitchell & Malachi Favors Maghostut; and Horace Tapscott & Roberto Miranda.

I can still hear Roscoe playing the soprano sax (or was it sopranino) without pause using circular breathing.

I’m posting this in the hope that photos or a recording of the event exists.

Heer – Yuri Soukal with David Beckwith

Heer Yuri Soukal If I Had Your Number

Sometimes I find a single so obscure, I step out of my ’60s garage bag and write about it. This single by Heer, “If I Had Your Number” / “Briefcase Person” is ’80s synth-pop with keyboards, guitar, drums and bass.

Yuri Soukal composed the music for both songs, and David Beckwith wrote the words for “Briefcase Person”. Issued with a release number H-11454 in 1985.

Rough audio of both sides along with two other songs is on youtube if you search for it. According to the person posting, Yuri Soukal died on May 22, 1987.

Found somewhere near Chicago, Illinois. Anyone have further info?

Heer Yuri Soukal Briefcase Person

The Dominoes “My Love for You” on JCP Records

Dominoes JCP 45 My Love For You

This is an early, relatively unknown single on Jimmy Capps’ JCP Records label 1016. There’s nothing ‘garage’ about it.

“My Love for You” is a latin-styled pop song with male harmony vocals, and a female recitation in Spanish. Tonie Krakora wrote the song, published by Aimee Music Co. which handled many JCP releases, so I believe this was an original song, not a cover.

“Ram-Bunk-Shush” is a good instrumental, probably learned from Bill Doggett’s version.

Distributed by Sound of Nashville, SoN 17061/2.

I haven’t been able to find anything about the group or Tonie Krakora.

Dominoes JCP 45 Ram-Bunk-Shush

The Artistics and the Symphonics: Thank You for Choosing Me

Artistics GWHS 1970 (1) photo
Artistics at the GWHS Spring Fling Concert, May 11, 1971, L-R: Joe Moore, Norman Brooks, Clyde McCoy, John Clark, Barry Price, Steve Eckles, Keith Wiley.

Think of the Artistics and you’ll probably recall the R&B vocal group who struck gold with “I’m Gonna Miss You” in 1966. But a lesser known group by the same name became the definitive soul band in Southside Virginia in the early 70s. Formed by neighbors and school friends, the Artistics got together in 1970 around the nucleus of guitarist Joe “Guitar Man” Moore, bassist Jonathan “J.D.” Oliver and vocalist, John Clark.

Artistics Joe & John
Joe Moore & John Clark of the Artistics on stage (undated)

Kathy Moore Cobbs, Joe’s sister, recalls Joe, John and J.D. rehearsing in her mother’s basement on several occasions and says they already sounded as good as the songs on the radio. Clark recalls that the trio “used to play a little bit, just jammin’ around” at Westmoreland School in their neighborhood. All attended George Washington High School in Danville and knew brothers Keith and Dale Wiley, who played drums and keyboards, respectively. The three had heard that the brothers wanted to form a band, so the five got together and moved the practice sessions to the Wiley’s garage. Shortly thereafter, the teens caught the attention of Langston Band Director Robert Hickson, who agreed to manage the as yet unnamed group.
Classmate Sharon Miller-Ranson remembers those early days well and standing on the corner of Cabell and Monument streets where “John Clark would start singing and we would have a concert in front of Cassidy’s Store.” Lula Dickerson said Joe Moore’s musical prowess was obvious from an early age and remembers his performance of “If I Had a Hammer” during the talent show at I.W. Taylor Elementary School.

The 17-year-old Clark was in 10th grade and recalls that they recruited three trumpet players: Clyde McCoy, Norman Brooks and Barry Price, all of whom played together in the high school band. Clark had just started playing drums but quickly became proficient on the instrument, allowing Keith Wiley to switch from percussion to organ. The move was necessitated by Dale Wiley’s departure to attend college.

Now with a complete rhythm and brass section, all they needed was a name. Rehearsals were moved to “a little place Hickson had” as they prepared for their first gig. They were to perform at the Top of the Stairs Club when a major snowstorm blanketed the city. The group members were riding around downtown trying to come up with a name just a few hours before they were due on stage. They rode down Union Street and passed Danville’s only licensed cosmetology school, Artistic Beauty College. Clark noticed the sign out front and said: “What about the Artistics?” Not knowing that there was already a professional band with the same moniker on Brunswick Records, the other band members agreed and the Artistics were born.

Artistics GWHS 1970 (1) photo
Artistics at the GWHS Spring Fling Concert, May 11, 1971, L-R: Joe Moore, Norman Brooks, Clyde McCoy, John Clark, Barry Price, Steve Eckles, Keith Wiley.
Artistics GWHS 1970 Concert Review
George Washington High School concert review

An early, memorable performance was in 1971 before hundreds of enthusiastic fans on the football field at their alma mater, George Washington High School. The seven-piece outfit included a trumpet section and Brooks, Price and McCoy choreographed their synchronized dance steps for the show. The trio also wore matching shirts and slacks. The brass section made a grand entrance, riding up to the stage in a convertible.

The Artistics were the only soul act on the bill and shared the stage with four rock bands. Clark recalls that their PA system was “lackluster” so all of the groups pooled their equipment and shared a set of drums.

A review of the performance noted that drummer-singer John Clark “placed heavy accents on such soulful hits as (the Jackson 5’s) ‘Never Can Say Goodbye’ and the Temptations’ ‘Just My Imagination.’” Their final number, Kool and the Gang’s “Who’s Gonna Take the Weight,” brought the crowd to their feet and had some dancing in the stadium.

J.D. was unavailable for the spring concert and guitarist Steve Eckles was recruited to fill-in on bass. Eckles was the only white member in the aggregation and the group would often rehearse at his parents Broad Street home. He was an excellent lead guitarist in his own right and was already a veteran of the local music scene, having played with many of the Artistics’ members in various bands at the El Dorado, a Black nightclub on the outskirts of town. Eckles also did arrangements for the band, allowing the brass to play string parts, adding depth to their live performances.

Artistics & James Brown ad (December 27, 1971)

The band continued to perform frequently at country clubs and on college campuses in Virginia and North Carolina and managed to secure a spot as the opening act for James Brown during his tour of small cities on the Chitlin’ Circuit in late 1971. Brown was booked to play the Danville City Auditorium on Monday, Dec. 27, 1971. Clark remembers that the Artistics were practicing one night when their manager stopped by and asked if they’d like to open for the Godfather of Soul. The band viewed it as a great opportunity for exposure and as a chance to make a little money. They were right on at least one count: The concert was well advertised but no cash changed hands. Clark said their manager informed the band members that this was their lucky break and that the show “was just gonna be for some publicity.”

This was the first time the Artistics had shared the stage with a professional act and Clark admits all were a little nervous, especially about their equipment. The roadies had refused their request to share his sound system; however, Brown overheard the discussion and told his crew to “let the guys use it.” They held their own and even got the attention of Brown’s backing band, the J.B.’s. The members rushed from backstage when they heard the Artistics covering Dennis Coffey’s instrumental hit “Scorpio,” note-for-note. While theirs was a small group with just three pieces of brass, Clark insists they “sounded just as good as Brown’s band.”

The show was on a Monday night and attendance didn’t meet expectations. Apparently sometime during the concert the top to Brown’s convertible was cut and he vowed never perform in Danville again. Clark doesn’t recall that incident but said Brown was disappointed with the turnout and announced from the stage that he would not be returning. Mr. Dynamite kept his promise.

The band entered the studio on at least one occasion, cutting a 45 at Triangle Recording Studios in North Carolina. The soul-tinged gospel tune, “The Handwriting is on the Wall,” was written by Keith Wiley. The Artistics traveled to Winston-Salem for the sessions. Clark plays on the track but doesn’t sing. The vocal chores were handled by Wiley, who would later enter the ministry. The single had a limited pressing on Triad Records, an independent label that specialized in gospel, bluegrass and country releases by local artists.


Equally rare is a 45 organist Keith Wiley wrote and recorded with the Symphonics in 1973 at Crescent City Sound Studios, Inc. in Greensboro, N.C. Crescent City was founded by Walt Copeland, who managed the studio and doubled as chief engineer. “Ooh Wee, Thank You for Choosing Me” (Crescent City Sound Studios – CCCSS 1223) is a soulful ballad featuring Ronald James and two male vocalists on a double lead falsetto reminiscent of the Delfonics and the Stylistics. The instrumental flip side, “Symphonic Strut,” includes some funky organ work from Wiley and James solid drumming.

The Symphonics were based in Yanceyville, N.C. and leader Ronald James played drums. Clark describes them as “a rival band,” that included a female bass player whose brother was also in the group. According to Clark, James later transferred to G.W. High School and went on to attend the Boston Conservatory of Music before returning to the area.

The record went nowhere but garnered local airplay on WILA, Danville’s R&B radio station. It was also a favorite on the cafeteria juke box at John M. Langston Junior High School, where Artistics’ manager Robert Hickson worked his day job as band director.

Most members of the Artistics were in the Class of 1973 and pursued other interests after high school. Wiley, Brooks, Price and McCoy all went on to college, while Oliver joined the Marines. Not ready to throw in the towel, Clark regrouped and enlisted brothers James and Grayling Covington on keyboards and bass. Grayling already knew the book, having followed the band to concerts and rehearsals. He also had a reputation as one of the finest bass players on the local scene. Joe Moore continued on guitar with Clark on drums and vocals.

The reformed band continued on the road but some of the members felt that a more “dynamic” name was needed. They decided on “Treachery.” Clark doesn’t recall the year Treachery called it quits but remembers the incident that led to their split. Treachery had landed a regular gig at a VFW Post in South Boston, Va., earning $900 a night. That was unheard of amount at the time and allowed the members to keep a little money and upgrade their equipment. All was well until the night a coat belonging to the wife of a prominent guest went missing. A girlfriend of a band member was accused of the theft. While she didn’t take the fur, the incident ended their residency and the band.

All of the members went on to successful careers, albeit not in the field of music.

Joe Moore, 2008

Joseph “Joe” Moore served for 20 years in the U.S. Navy. He lived in Norfolk and Hampton, Va., where he worked for the Navy Material Transportation Office until retirement in 1995. While living in the Tidewater area, Joe continued his musical indulgence. He organized gospel music groups, played guitar for Queen Street Baptist Church in Hampton and New Beech Grove Baptist Church in Newport News, Va. Moore returned to Danville and became a music instructor, giving lessons to young aspiring guitarists. He would sometimes play guitar during morning services at Pleasant Chapel Baptist Church in Sutherlin, Va. Moore died on Jan. 30, 2011.

Artistics reunion at Langston School, L-R: Carl Fitzgerald, unknown, Marvin Warner, Joe Moore.

Brothers Keith and Dale M. Wiley both enjoyed successful careers in separate fields. Dr. Keith B. Wiley became a minister and served as pastor of several churches before his death in November 2003 in Wilmington, Va. His brother, Dale, finished law school and returned to his hometown, where he worked as a defense attorney before being named Juvenile and Domestic Relations Court judge for the city of Danville. He is currently the presiding judge over the 22nd Judicial Circuit of Virginia.

Jonathan “J.D.” Oliver joined the Marines and attended Coastal Carolina Community College in Jacksonville. He now lives in Lexington Park, Maryland, where he works for Wyle Laboratories. John Clark is retired but continues to work driving a Yellow Cab. He and his wife have a home in Danville. Grayling Covington still lives in Danville, while his brother, James, moved to Burlington, N.C. At last report, Norman Brooks was living in Richmond, Va.

A high school reunion at Langston in 2015 brought some of the surviving members together again, 45 years after their first practice. Classmates still remembered the group and the music they created. That doesn’t surprise Clark, who says the members “were all perfectionists” and played for an audience who expected their music to sound “just like the record.” They succeeded.

Carol Chakarian “Put Your Accent on Love” on Nashville

Carol Chakarian Nashville 45 Put Your Accent On Love

Carol Chakarian lets loose with a great vocal on “Put Your Accent on Love”. Not ‘garage’ music, but a pop song in a country style. Hear an excerpt.

The flip is the more sedate “Lost in This World of Love”, both songs written by Phil DeWolf, publishing by Tronic BMI. Released in 1965 on Nashville 5242, “A Tommy Hill Starday Studio Production”.

I can’t find any info on Chakarian or DeWolf.

J.P. Company “Gozar Asi”

J. P. Company Orfeon 45 Gozar Asi

I didn’t expect this 45 by J.P. Company to be almost unknown, but it appears that way. “Gozar Asi” has many of the elements you might expect from early ’70s funky psych, including organ, wah wah rhythm, harmony vocals, a good guitar break and more. It’s a fine song, written by Jaymenoll Hernandez.

The flip is a more conventional ballad, “Fue” by Alfonso Ortiz.

Released on Orfeon 45-15056 in 1971, I thought this could have been a group from Mexico. I had a Los Locos del Ritmo single on the same Orfeon label with a Los Angeles address which turned out to be a reissue of two different sides originally issued in Mexico years before.

As it turns out, this J.P. Company release is an original Billy Cardenas Production out of Los Angeles. Cardenas was famous for his involvement with the ’60s Eastside Sound, including the Romancers, the Premiers, the Blendells, Cannibal & The Headhunters, Ronnie & The Pomona Casuals, Mark & The Escorts and many more. For Orfeon he would produce Jr. & the Preludes, La Tribu and others.

Billy Cardenas producing for Orfeon, Record World, November 20, 1971
Billy Cardenas producing for Orfeon, Record World, November 20, 1971

A December 23, 1972 notice in Billboard notes Orfeon General Manager Oswaldo Benzor would be recording J.P. Company bilingually. If it happened, I haven’t heard or seen it. From the quality of “Gozar Asi”, this is a group that deserves more attention.

J. P. Company Orfeon 45 Fue

J.P. Company Orfeon Billboard, Dec. 23, 19721972
Orfeon promoting J.P. Company as a bilingual act in Billboard, Dec. 23, 19721972

I.P. Sweat, David Kealy, Tom Lunar – The Exorcism on Pot

Pot 45 The ExorcismI often find records that are not garage rock, but are interesting enough to warrant research. The Pot label, the Texas location, & the title “The Exorcism” might raise one’s expectations, but this 45 by Isaac Sweat, David Kealy and Tom Lunar is conventional ’70s rock with a little horror in the lyrics. There is a cool backwards track version on the flip side.

Still, it’s obscure as can be: this is the only copy I know of, and have found no mention of it elsewhere. Some of members had their roots in the Houston garage band scene, though exactly how is murky at this point.

I found a copyright entry for “The Exorcism” from February, 1974, along with one for “A Love That Will Never Die” by David Kealey, Tom Lunar and Harold Fulton.

Pot 45 Msicroxe EhtThe address of 9717 Jensen Drive in Houston points to the Nashville Sound Studio (soon to be renamed Sound Masters) and the release number fits into other singles from that studio.

I thought Pot was the band name, because I.P. Sweat, David Kealy, Tom Lunar seems awkward for a group. But there are releases on the International Mod label that looks very much like this one, by Just Us, the Walkers, and Rocky Rhoades, all cut at Nashville Sound Studios.

I’ve read Isaac Payton Sweat played bass with Johnny Winter, I assume in the early days in Beaumont before Tommy Shannon joined in ’68 or ’69. Isaac died in 1990 after achieving some success with a rocking version of square dance and country music.

David Kealy has a credit as engineer on Kenny Cordray’s version of “Francene” from 1987. As David Kealey, he appears as a bassist on a Bill Nash LP and has many more engineering credits.

Tony Braunagel joined Paul Kossoff of Free in Back Street Crawler, and later became a studio drummer. Braunagel and David Kealey were both members of Bloontz who had an LP on Evolution in 1973.

Tom Lunar I have no additional info on.

Bobby and the Blue Denims “Stop and Go”

Bobby and the Blue Denims Statue 45 Stop and GoI can’t find any information on Bobby and the Blue Denims, who cut this single of sax-and-guitar instrumentals. “Stop and Go” is a good bluesy original by Robert B. Hardy. The flip is “Rail Road Rock” arranged by W. Pierce. Cedarwood published both songs.

Released on Statue SR-7637, the L8OW code indicates this was an RCA custom pressing from 1960.

Statue had an address of 146 7th Avenue, North Nashville, Tennessee, which was simply the address of Cedarwood Pub. at the time.

The Highlights / Carroll & London on Top-Notch

Highlights Top-Notch 45 Orbit
This single on Top-Notch is an excellent 1966 release by two different soul groups.

One side has the Highlights doing a great up-tempo number with swirling organ, “Orbit”, featuring a lead vocal backed by harmonies. The flip is credited to Carroll & London with a different harmony style altogether.

I’m posting as it is currently almost unknown and has some intriguing credits.

Joann Longenberger wrote both songs, published by Knorr Music Pub. and Oasis Music. Released as Top-Notch IMK-2, it has a Columbia pressing code of ZTSP-12677/8.

Top-Notch had at least two other singles. The first may be Herb and His Cronies with “The Phantom” / “In the Middle of a Love”. It was released on Personality A-700 in July of 1966, with an IMK Productions credit that links it to the Top-Notch singles. 45cat lists this same single as being released on Top Notch 700, however I cannot find a scan of that to confirm – anyone have one?

The other two singles that definitely had release on Top-Notch were IMK-1, J. Salvemini’s “La Salles” doing “Why Oh Why” / “Wanarupu” (both have words by Ernest Barlbeault, and music by Joseph Salvemini); and IMK-3, an artist named Coye doing “Hop Scotch” / “Sweet I Know” (both by C. Boatner).

All were registered with the Library of Congress on August 29, 1966, with the Coye songs listed as words by Mary Boatner and music by Coye Boatner. The pressing code on the Cove is ZTSP 122680, which shows these were sent together to be mastered and pressed in one batch.

I presume a New York location for Top-Notch but I don’t have any definite proof of that. There was a Coye Boatner living in the Bronx in the early 1970s, but also indications Coye and Mary Boatner lived in Louisiana at some point.

Carroll & London Top-Notch 45 Lock My Love

The Innocence “Quit Buggin’ Me” on Zap Records

Innocence Zap 45 Quit Buggin' MeI hadn’t heard the Innocence single “Quit Buggin’ Me” on Zap Records 2331, but I bought a copy because the titles were promising and it shares a label with a favorite garage 45, the Starlites‘ “Wait For Me”.

“Quit Buggin’ Me” turns out to be a fairly hilarious song-poem type vocal over a rock backing track (with flute, why not).

Quit buggin’ me,
I don’t want to be bothered,
Can’t you see,
You’re wasting your time.

Besides the singer’s off-time interjections of “Quit buggin’ me”, I like lyrics such as “keep fishin’ round, you got the bait”! plus the chorus chanting “You’ve had your way” and “I’m off the hook”.

“Jungle of Love” is more countrified and the lyrics a bit hackneyed.

Rozella Staples and Joan Hager wrote both songs, published through Top Talent Music BMI. They registered the songs with the Library of Congress in September 1970, but from the pressing code ZAFX-6805217, I believe this was actually recorded and released in 1968.

Zap Records was part of Belle Meade Records in Nashville, also known for song-poem releases.