Mike Dee & The Jaywalkers

March 1, 2012 Nick Warburton 10 Comments

Mike Dee – lead vocals
Brian Sell – lead guitar
Brian Mansell – rhythm guitar
Dave Tippler –bass
Terry Mabey – drums

Mike Dee & The Jaywalkers was formed in February 1961 but had been active for several years before Dee (real name Mick Wheeler) was invited to join as lead singer. Wheeler had known Brian Sell from his childhood in Twickenham, Middlesex. Around 1957, while in their early teens, they had played skiffle together at Kneller School in Twickenham. Brian Mansell and Terry Mabey had also attended Kneller School and like Brian Sell were in the year below Wheeler. When Kneller shut, all of the musicians went to Whitton Secondary in Whitton, Middlesex.

Brian Sell had come up with the band name after seeing a sign for jaywalking while on the bus in Twickenham. The original band, comprising Brian Sell, Brian Mansell and Terry Mabey, was formed in 1959 and initially also included future Animals guitarist Vic Briggs. The Jaywalkers debuted at Zeeta’s in Putney but soon after Briggs left and the band took on lead singer Denny De Banks, who was two years older than the rest of the group.

According to Brian Mansell’s diary from this period, two of Denny & The Jaywalkers’ earliest gigs were a show at Whitton Secondary School on 16 December 1960 and a wedding at the Railway Tavern in Feltham, Middlesex on 31 December 1960. On 4 February 1961, Denny & The Jaywalkers came second at the Borough of Twickenham Rhythm Group contest, held at St Mary’s Hall, Twickenham. However, well-known DJ Phil Jay, one of the judges on the panel, was impressed and offered to be their manager.

Not long after Dave Tippler from Feltham, Middlesex joined on bass and may have been present when the group played at the Fountain Public House in Twickenham on 8 February 1961. Around this time Denny De Banks, who had a well-paid job and could not commit to going professional, departed leaving a vacant spot for a new lead singer. It was at this point that Brian Mansell ran into Mick Wheeler in Whitton and invited him to audition. Previous to joining Wheeler had played rhythm guitar in Twickenham band The Paragons, who also included singer Jeff Rolfe, lead guitarist Jimmy Johnson and drummer John Seddon.

According to Brian Mansell’s diary, the band attended an audition at the Carlton Ballroom in Slough on the morning of 19 February 1961 before playing a show at the Southall Community Centre in Southall, Middlesex that evening. Mike Dee & The Jaywalkers passed the audition and got a weekly gig at the Carlton, kicking off with a show on 26 February.

Confirmed gigs:

26 February 1961 – Carlton Ballroom, Slough, Berkshire
5 March 1961 – Carlton Ballroom, Slough, Berkshire
12 March 1961 – Carlton Ballroom, Slough, Berkshire
19 March 1961 – Carlton Ballroom, Slough, Berkshire
20 March 1961 – Carlton Ballroom, Slough, Berkshire
22 March 1961 – Carlton Ballroom, Slough, Berkshire
25 March 1961 – Isleworth Polytechnic, Isleworth, Middlesex
3 April 1961 – Carlton Ballroom, Slough, Berkshire
5 April 1961 – Carlton Ballroom, Slough, Berkshire with The Dreamers
15 April 1961 – Essoldo, Slough, Berkshire with Sean Dudley & The Wildcats
17 April 1961 – Carlton Ballroom, Slough, Berkshire with The Fleereckers
23 April 1961 – Carlton Ballroom, Slough, Berkshire
24 April 1961 – Carlton Ballroom, Slough, Berkshire
26 April 1961 – Carlton Ballroom, Slough, Berkshire
30 April 1961 – Carlton Ballroom, Slough, Berkshire

Mike Dee & The Jaywalkers underwent a significant personnel change with future Deep Purple axe man Ritchie Blackmore replacing Brian Sell around May 1961. Sell had met Blackmore at Dawe Instruments electronics factory in Brentford, Middlesex around 1959 where the latter worked as a trainee electronic wireman. The pair briefly rehearsed together in a trio with drummer Mick Underwood before Sell formed The Jaywalkers and Blackmore and (later) Underwood joined Bobbie & The Dominators. Sell introduced Blackmore to The Jaywalkers but it cost him his place in the band.

Brian Mansell’s diary notes that Mike Dee & The Jaywalkers were due to record for EMI on 14 April 1961 but the session was postponed. A record test for EMI did take place on 21 April, nearly a week after the show at the Essoldo in Slough with Sean Dudley & The Wildcats. It’s quite possible that the recording session did not go well and the band started to look for a replacement for Brian Sell. According to Jerry Bloom in his excellent book “Ritchie Blackmore – Black Knight”, Phil Jay wanted the band to sign with the George Cooper Agency. The band’s manager compered a lot of the Larry Parnes tours and many of the artists that appeared were booked through the agency, which wanted to sign The Jaywalkers up but not with Brian Sell as the guitarist. As a result, Blackmore was recruited as his replacement.

After leaving The Jaywalkers, Sell joined The Bandits. He then played and recorded with Rey Anton & The Peppermint Men before reuniting with Mick Wheeler in The All Night Workers in 1966. Jerry Bloom’s book on Ritchie Blackmore also notes that the new line up got the opportunity to record two tracks for Decca Records for a proposed single – “Stolen Hours” c/w “My Blue Heaven” at the label’s West Hampstead studios but they were subsequently shelved. Brian Mansell’s diary notes that the band recorded in the morning on 27 September 1961 before playing a show at the Carlton Ballroom in Slough in that evening.

Left to right: Terry Mabey, Billy Fury, Brian Mansell, Mick Wheeler, Ritchie Blackmore and Dave Tippler at Portsmouth Guild Hall, 21 November 1961

Shortly after a gig in Hemel Hempstead on 18 November 1961, Phil Jay got Mike Dee & The Jaywalkers on to a package tour headlined by Billy Fury and also including Eden Kane, Karl Denver and Shirley Douglas. When Douglas fell ill, Mike Dee & The Jaywalkers got the opportunity to fill in until she got better. However, there was some confusion because Peter Jay & The Jaywalkers, who were backing Eden Kane, were also on the tour. Mike Dee & The Jaywalkers’ involvement was cut short after playing two gigs – the first at the Granada in Dartford on 20 November and the second at the Guild Hall in Portsmouth on 21 November (where a photo was taken of the band with Billy Fury) when Douglas returned to the bill. The next day, Mike Dee & The Jaywalkers played in Doncaster supporting Johnny Gentle.

In early 1962, the band dispensed with Phil Jay and signed with the Rudy Stanton Agency. According to Mansell, The Jaywalkers rehearsed with Gene Vincent in a recording studio in London around this time in anticipation for a UK tour. However, the tour was cancelled at the last minute and Vincent returned to the US. During this period, Derek Sirmon, another former Kneller pupil, subbed for Terry Mabey on several occasions when he wasn’t well enough to perform. However, the band’s career was about to come to a halt.

While playing at Southall Community Centre (the most plausible date according to Mansell’s diary is 1 April 1962), Screaming Lord Sutch dropped in and offered Blackmore £40 a week to play with his backing band The Savages. Blackmore jumped at the chance but with a short tour lined up, he asked his friend Dave Wendels to fill in until he could join in mid-May.

A package tour headlined by Gary U.S. Bonds, Johnny Burnette and Gene McDaniel had been booked for April-May 1962. Johnny Milton & The Condors were also lined up to appear with The Condors backing support acts, Rolly Daniels, Danny Rivers and Mark Wynter. However, with all the publicity already made up, Johnny Milton & The Condors split up. With the confusion over the two Jaywalkers, Mike Dee & The Jaywalkers were asked to change name to The Condors and took their place. Mick Wheeler was not invited to participate so he sat out while the others backed the support acts on the 21-date package tour. With the tour winding up on 13 May 1962, Ritchie Blackmore departed for Screaming Lord Sutch’s band and The Jaywalkers disbanded.

In the months that followed, Mick Wheeler abandoned a music career and joined the parachute regiment in the Territorial Army. The singer did his training and gained his wings before returning to the live scene in late 1963 with Mike Dee & The Prophets. In 1966, however, Dee reverted to his real name, Mick Wheeler and formed The All Night Workers before later recording with the UK version of Jo Jo Gunne and fronting a latter day version of The Love Affair.

Brian Mansell and Terry Mabey both worked with Frankie Reid & The Casuals after The Jaywalkers broke up. While Mabey subsequently joined James Royal & The Hawks, Mansell later played with The Missing Links before reuniting with Mick Wheeler in The All Night Workers during spring 1968.

The All Night Workers in late 1966 with Mick Wheeler (aka Mike Dee) centre and Brian Sell (second right). Photo thanks to Mick Wheeler

The following is a list of selected gigs from Mansell’s diary when Ritchie Blackmore was a member:

6 May 1961 – Essoldo, Slough, Berkshire
10 May 1961 – Carlton Ballroom, Slough, Berkshire
13 May 1961 – White Hart, Southall, Middlesex
17 May 1961 – Carlton Ballroom, Slough, Berkshire
21 May 1961 – Carlton Ballroom, Slough, Berkshire
27 May 1961 – Essoldo, Slough, Berkshire
31 May 1961 – Carlton Ballroom, Slough, Berkshire
3 June 1961 – Staines Town Hall, Staines, Middlesex
4 June 1961 – Carlton Ballroom, Slough, Berkshire
7 June 1961 – Carlton Ballroom, Slough, Berkshire
12 June 1961 – Carlton Ballroom, Slough, Berkshire
17 June 1961 – Essoldo, Slough, Berkshire
18 June 1961 – Southall Community Centre, Southall, Middlesex
21 June 1961 – Carlton Ballroom, Slough, Berkshire
24 June 1961 – Rugby Football Ground, Twickenham (open air concert)
26 June 1961 – Carlton Ballroom, Slough, Berkshire
28 June 1961 – Carlton Ballroom, Slough, Berkshire
2 July 1961 – Southall Community Centre, Southall, Middlesex
5 July 1961 – High Wycombe Town Hall, High Wycombe, Buckinghamshire
8 July 1961 – Gaumont Pier, Southampton, Hampshire
19 July 1961 – High Wycombe Town Hall, High Wycombe, Buckinghamshire
29 July 1961 – Essoldo, Slough, Berkshire
30 July 1961 – Carlton Ballroom, Slough, Berkshire
1 August 1961 – Walton Hop, Walton-on-Thames, Surrey
2 August 1961 – Carlton Ballroom, Slough, Berkshire
5 August 1961 – Southampton Pier, Southampton, Hampshire
7 August 1961 – Carlton Ballroom, Slough, Berkshire
13 August 1961 – Carlton Ballroom, Slough, Berkshire
16 August 1961 – High Wycombe Town Hall, High Wycombe, Buckinghamshire
19 August 1961 – Southampton Gaumont, Southampton, Hampshire (morning)
19 August 1961 – Southampton Pier, Southampton, Hampshire (evening)
2 September 1961 – Agincourt Ballroom, Camberley, Surrey
3 September 1961 – Southall Community Centre, Southall, Middlesex
9 September 1961 – Mental hospital in Basingstoke with Screaming Lord Sutch & The Savages
13 September 1961 – Carlton Ballroom, Slough, Berkshire
23 September 1961 – Essoldo, Slough, Berkshire
27 September 1961 – Carlton Ballroom, Slough, Berkshire
30 September 1961 – Staines Town Hall, Staines, Middlesex
1 October 1961 – Southall Community Centre, Southall, Middlesex
4 October 1961 – Carlton Ballroom, Slough, Berkshire
5 October 1961 – Crown Ballroom, Banbury, Oxfordshire
14 October 1961 – Agincourt Ballroom, Camberley, Surrey
15 October 1961 – Carlton Ballroom, Slough, Berkshire
21 October 1961 – Essoldo, Slough, Berkshire
24 October 1961 – Walton Hop, Walton-on-Thames, Surrey
28 October 1961 – Southampton Gaumont, Southampton, Hampshire (morning)
28 October 1961 – Southampton Pier, Southampton, Hampshire (evening)
1 November 1961 – Carlton Ballroom, Slough, Berkshire
4 November 1961 – Park Ballroom, Southampton, Southampton, Hampshire
7 November 1961 – Walton Hop, Walton-on-Thames, Surrey
8 November 1961 – Agincourt Ballroom, Camberley, Surrey
17 November 1961 – USAF, Bushy Park, Middlesex
24 November 1961 – Essoldo, Paddington
25 November 1961 – Crawley (possibly Starlight Ballroom), West Sussex
29 November 1961 – Adelphi, Slough, Berkshire
30 November 1961 – Agincourt Ballroom, Camberley, Surrey
10 December 1961 – Carlton Ballroom, Slough, Berkshire (last gig of the year)

For The Condors gigs, see Jerry Bloom’s excellent site.

I’d especially like to thank Brian Mansell for sharing his diaries with me and for his hospitality. Thanks also to Mick Wheeler, Brian Sell and Jerry Bloom.

I have tried to ensure the accuracy of this article but I appreciate that there are likely to be errors and omissions. I would appreciate any feedback from anyone who can provide any additions or corrections. Email:Warchive@aol.com

Visit: www.nickwarburton.com

Jo Jo Gunne, 1969, Mick Wheeler bottom right. Photo from Alan Barratt

Categories: Chicago, Illinois, US, Vintage

Soulbody “I See You Crying” on Vintage

March 1, 2012 Chris Bishop 14 Comments

Here’s a 45 by a group called Soulbody that I’m curious about. I don’t own a copy, but was alerted to this by Mike Hadenfeldt who found one with an address label from a suburb of Los Angeles. Mike reports the following info on the labels:

Vintage Records (A Chess Recording) WJZ 51147
“I See You Crying” / “Then Came The Winter”
Both songs written by Bill Zurowski
Both sides have a date of 1966 under “BMI”

Deadwax info:

“I See You Crying”: F1191 WJZ 51147-2 (no dashes [just spaces] between groups of digits except the last one)

“Then Came The Winter”: F1190-WJZ-51477-1 (dashes between all groups of digits)

Band member Bill Zurowski put the video on Youtube (listing the band name as two words, “Soul Body”) and gave me some background on the band:

We were a band made up of Milwaukee and Chicago musicians in the mid 60’s. We recorded 2 songs at Chess Records in Nov 1966. We recorded in the historic studio where all the hits of the Chess artist were recorded, Chuck Berry, Bo Diddley, Muddy Water, Howlin Wolf, Little Walter and Willie Dixon etc. Doug Brand was the engineer. Doug was Chess’s main engineer. We used Fender black faced amps and a Gibson fuzz tone (that’s what Richards used on Satisfaction); my guitar was an ES 335.

I asked Bill if the band ever had their original tape or demo pressed to 7″ 45 vinyl, but have not heard from him yet.

The song sounds like a ’60s recording, but I’m almost certain this is not a ’60s pressing. The fonts on the label point to a graphic style from a later period, and the label name “Vintage” also suggests a later issue. Not to mention a stereo pressing for a private 45 would be extreme unlikely in 1966. Mike Markesich suggested the five digit number code could be a 70s Universal pressing.

Also, despite the labels saying “BMI” and “1966”, Mike Markesich could not find a copyright listing for the writer or song titles from 1964-1972.

Categories: Bowling Green, Courier, Ohio, US

Baron Thomas and the Blue Crystals

February 18, 2012 Chris Bishop 4 Comments

The Blue Crystals with Baron Thomas — The second version of the Blue Crystals, with vocalist Baron Thomas from left: Douglas Maas, George Anderson, Baron Thomas (front center), Don Harris and Don Hite

Baron Thomas and the Blue Crystals Courier 45 Tension Baron Thomas & the Blue Crystal’s “Tension” is a song that I never get tired of. The bass gives the song a great propulsion, the drumming sounds fantastic with all the reverb on it, and Baron Thomas’ vocals cut through the hiss of the ride cymbal and the compression of the recording. The two guitars have distinct sounds and roles in the song, and everything comes together so nicely on the chorus, as the finger-picked rhythm switches to slashing chords.

I started looking into the story of the band and found band leader George Anderson’s website, which features a history of the group written by George Gell, which I’ll summarize here.

The Blue Crystals came from Bowling Green, Ohio. They had been the Citations until a new manager, James Farringer had the idea to spray their hair blue and change their name to the Blue Crystals in 1964. The blue hair didn’t last, but the name stuck and they would remain the Blue Crystals for the next four years.

The band at this time were Joe Dill (lead vocals), George Anderson (lead guitar), Don Hite (rhythm guitar), Roger Rauch (bass) and Don Harris (drums). They cut their first record in 1965, “Be Bop a Lula” / ” Hey Baby” at Courier Studios in Fremont, owned by Bob Brown.

By 1966 Joe Dill and Roger Rauch had left, to be replaced by Doug Mass on bass and Byron Thomas, from Toledo, as new lead vocalist.

They went back to Courier in late ’66, recording two originals by George Anderson, a ballad “We’ll Be Thru For Ever” b/w “Tension,” “inspired by a certain girl friend from that time” says George. The band pressed 1,000 copies in January, 1967, selling most of them.

Later that year Don Hite switched to bass after Doug Mass left the band and Dave Brown came in on keyboards and sax. The group continued until the draft broke them up in 1968.

George Anderson continued in music, playing part-time in bands, giving lessons on guitar and performing solo with MIDI backing.

Thank you to Mark Taylor for the great transfer and scan of his autographed copy of the 45. Special thanks to George Anderson for the scans of the clippings and photo.

The original lineup of the Blue Crystals at the Metropole, with vocalist Joe Dill and bassist Roger Rauch

Blue Crystals band: Don Harris, Roger Rauch, Joe Dill, Don Hite and George Anderson — left to right, top: Don Harris, Roger Rauch and Joe Dill; bottom: Don Hite and George Anderson

Categories: Anaheim, California, France, Los Angeles, Number One

The What’s New

February 10, 2012 Chris Bishop 17 Comments

High and Dry with The Yachtsmen Buena Vista The What’s New have always fascinated record collectors: mistakenly listed as a Florida band, they released two EPs in France but nothing in the U.S.

Spike Priggen found some great videos of the What’s New performing on French TV and suggested we collaborate on a post, which I put up at Bedazzled last month.

Their story starts with the Yachtsmen, a folk group founded by students at Long Beach City College in 1959. The Yachtsmen became regulars at Disneyland in Anaheim, releasing an LP on Disney’s Buena Vista label (BV-3310), High and Dry with The Yachtsmen in 1961.

On the LP the group were Carl Berg (vocals, guitar), Ray Jordan (vocals, banjo, string bass), Jay Huling (aka Jay Hulingpart, vocals, guitar, bongos), and Bill Reed (vocals, bass). Other members included Kevin Shipman and Mickey Elley.

The Yachtsmen continued performing at Disneyland for the next several years, appearing on another LP, Jack Linkeletter Presents a Folk Festival.

Kevin Shipman created a video history of the Yachtsmen and What’s New with photos and music.

Bud Hedrick and Colin Scot at Coke Corner, photo courtesy Bud Hedrick.

Meanwhile Scot Thistlewaite (stage name Colin Scot) had been playing banjo and guitar with a ragtime duo called Bud and Scotty at Coke Corner in Disneyland, with Bud Hedrick on piano.

Scot was born in the UK, moved to Canada in the late ’50s where he went to Sir Adam Beck Collegiate High School in London, Ontario, then moved to California where he attended Cal State University at Long Beach.

In October, 1965, French chanteuse Line Renaud and her husband Louis “Loulou” Gasté saw the Yatchsmen at Disneyland and brought the group over to Paris in January, 1966.

Kevin Shipman wrote to me about how Scot joined the group:

Scotty was a friend of our folk group The Yachtsmen when we were all at Disneyland. As you have noted in your piece, he and Bud Hedrick played ragtime at Coke Corner.
Some time in December 1965, Line Renaud, the star of the Casino de Paris in Las Vegas, toured Disneyland and saw us performing. Shortly after that we received a call from her representative saying that she wanted us to come to Paris to be second billing in her new show at the original Casino de Paris. We talked about it and decided it would be a great opportunity to live in an amazing place and to re-charge our creative batteries.
One of our guys was finishing up his master’s degree and had just been engaged to be married and he declined to make the trip. We immediately went to Scotty to see if he might be interested. He jumped a foot off the ground and yelled “YES”. Scot had just been called up by the draft board and there was no way he could have been a soldier. He was barely an American having arrived from Canada only a few years earlier and he was a committed pacifist. This would be his way out of that and into a new and exciting chapter.
Scotty was the perfect addition to our group. He spoke French with near fluency – something we were not aware of when we approached him – and he brought a lot of energy and heart to what was to become a folk-rock band. We wanted to break out of the folk music constraints and do original music with power and finesse. All the members were strong musicians with great harmony sensibilities and we could all sing solo. I like to think that we were predecessors of bands like Crosby, Stills and Nash and the Eagles.

The band changed their name to the What’s New though they still look very collegiate performing “Des mots d’amor” with Line Renaud on French TV. [Unfortunately all the excellent videos of the band on French TV have been taken down from Youtube since I first posted this article.]

The What's New EP — The What’s New: from left: Jay Huling, Colin Scot, Kevin Shipman and Carl Berg

They recorded their first EP in July, ’66 at Gasté’s own studio in Paris, scoring a French hit with a single version of Gordon Lightfoot’s “Early Morning Rain”. Their first EP also has their version of Tom Paxton’s “The Last Thing on My Mind” and two songs by Randy Sparks of the New Christy Minstrels, “Huckleberry Finn” and “Driving Wheels”.

Kevin Shipman told me:

We had a hit in France (number one or two depending on who you talk to) with “Early Morning Rain” but we did not have the management we needed. Line Renaud’s husband Lou Lou Gaste liked to think that he was performing those tasks and fended off other true management people who approached him.
One of our best moments was one of our last. We played the premiere music venue in Paris – the Olympia – opening for Michel Polnareff and the Beach Boys [October 25, 1966]. Everyone one who saw the show said that we blew the Beach Boys off the stage. They had great hits but they were weak in live performance.

What's New second EP Up So High — Their second EP

Their second EP showcases four original songs by Colin Scot, putting a sharp folk-rock sound behind Scot’s plaintive lead vocal and the group’s harmonies. It includes the now-famous “Up So High” (“Got no use for LSD, every time you look at me I’m up so high”) and the excellent “Get Away” which moves from dreamy verse to tough chorus.

The What’s New disbanded in early 1967.

Kevin Shipman explains:

I had decided that I needed to go back and finish my college studies. I was one year away from graduation and I felt that goal slipping away after a year and a half in Paris. Another member was having marital troubles and his wife insisted on returning to the US and her church group. So, we reluctantly parted ways as friends having come very close to the prize but not at the right time.
Scot could not go back to the US having eluded the military and chose to go to England where the music scene was far more vibrant than in France.

Colin Scot became part owner of a nightclub called Kahuna’s Cave in Cala Mayor, Palma de Majorca, and toured the folk circuit in the UK in the late ’60s. In the 1970s he released LPs on United Artists and Warner Bros, with a final single “Mandolin Man” / “Boris” on RCA in 1977. He died in Amsterdam in 1999.

Kevin Shipman:

My wife and I remained close to Scotty over the years and visited him twice in Amsterdam. He came twice to our home at Lake Tahoe and we found all our visits to be both rich in friendship and yet agonizing witnessing his descent in ever-deeper and more virulent alcoholism. I never saw him pass out which was amazing considering how much he drank.
Our last visit from him was in winter of 1999 and he would die a few months later. During that last visit he was not drinking for the first time in his adult life but he was having liver failure. He resumed drinking when he returned home.
Scotty was a beacon and a natural Pied Piper. Everyone loved him and he seemed to love everyone. I can tell you from reading his poetry that he came to view life in a fundamentally dark way. He trusted everyone and was taken advantage of by many. He had no concept of money management and it vaporized in his possession.
Ultimately, his life was very difficult with bright chapters – Disneyland and Paris in particular – and many dark ones. In reflection, it could not have gone any other way. This was Scotty and there was no other life option for him. Music and entertaining was his passion and alcohol was a demon none of us could exorcise from him. Interventions were planned but failed.
Scot’s writing was always a reflection of his life circumstances. The music he wrote during the What’s New period was mostly upbeat. He intensely disliked the dreariness of London and addressed that directly in one of his solo songs. His writing became darker as his circumstances deteriorated and that diminished the appeal of his music for many. I repeatedly encouraged him to lighten up and inject some humor or irony, as he used to do, into his writing rather than hitting us on the nose with what he didn’t like. He preferred the direct approach. Regardless, he was a great talent and a wonderful, sensitive person.
In the end, he should be remembered as a loving, caring, zany bundle of gifts and excesses. His was the life of the clown. Happy on the outside and often tortured within. The day his father Cy called to inform me of his passing I cried. I knew Cy would call with that message before too long so I was prepared for it. But it pained me greatly and it still does. He was one of a kind and he is missed.

Thank you to Jeff of the Limestone Lounge and Obsolete for the What’s New EP scans. Yachtsmen LP scan from Vintage Disneyland Tickets.

Special thanks to Kevin Shipman and Bud Hedrick.

Categories: England

Gethsemane (featuring Martin Barre)

February 8, 2012 Nick Warburton 3 Comments

Martin Barre (lead guitar, flute)
Mick Ketley (keyboards, lead vocals)
Bryan Stevens (bass)
Malcolm Tomlinson (drums, flute, lead vocals)

1968

August After backing visiting US soul acts as The Noblemen (July-November 1966); working as stax/soul band, The Motivation (November 1966-August 1967); and Mod/psych outfit The Penny Peep Show/Penny Peeps (August 1967-August 1968), the group changes its name to Gethsemane to reflect the burgeoning British blues scene. Soon after, the band’s singer Denny Alexander drops out and keyboard player Mike Ketley and drummer Malcolm Tomlinson assume joint lead vocals.

(11) Barre attends the 8th National Jazz and Blues Festival at Kempton Park, Sunbury, Surrey and catches Jethro Tull, who really impress him. He will audition for the band on a couple of occasions later in the year.

(24) Gethsemane Soul Band play at the Royal Lido in Prestatyn, Wales with The Informers.

(25) Working as a quartet, the band plays one of its first shows as Gethsemane at Eel Pie Island in Twickenham, west London. The band gets an early copy of The Band’s Music From The Big Pink, which is a major influence on Gethesmane’s members. Tomlinson will handle lead vocals on covers of “The Weight” and “Chest Fever”.

(28) Gethsemane play at Eel Pie Island with The Nice and this is the most plausible date.

(31) Billed as Gethsemanie, the band opens the Van Dike Club in Plymouth, Devon with Jethro Tull.

September (9) Geth Semane play at the Aurora Hotel in Gillingham, Kent.

(14) Billed as Geth Semane, the band makes an appearance at the Roundhouse in Chalk Farm, London on a star-studded bill that also includes The Scaffold, David Bowie and Junior’s Eyes. DJ John Peel, who is allegedly a huge fan, records the band’s set and plays it on his radio show the following week.

(18) Gethsemane are hired to participate in a studio session with guitarist Jeff Beck (which most likely takes place on this date) but the session does not go well and is aborted.

(22) Billed as Geth And Semane, the quartet play at the Linden Sports Club in Bournemouth, Dorset.

(28) Gethsemane play at the Stage Club in Oxford.

October (5) Gethsemane support Fleetwood Mac at the Links, Boreham Wood, Hertfordshire.

(7) Billed as Gethsemaney, the quartet appear at Samantha’s in the Langland Bay Hotel in Swansea, South Wales with The Liquid Umbrella.

(16) Billed as Geth Semane, they replace The Keef Hartley Band at Rambling Jack’s Blues Club at the Railway Hotel in Bishop’s Stortford, Herts.

(21) They appear at the Blue Horizon club in the Nag’s Head in Battersea, southwest London.

(23) Billed as Geth Semane, they open for Alan Bown at Eel Pie Island in Twickenham, Middlesex.

(28) Malcolm Tomlinson is hired to back Elton John on a BBC radio session at Agolin Hall. Joined by bass player Boots Slade and guitarist Caleb Quaye, the band records “Lady Samantha”, “Across The Havens” and “Skyline Pigeon”. The three songs are played on BBC radio’s Stuart Henry Show the following week.

November Gethsemane pique the interest of Bee Gees producer Robert Stigwood, who signs them to Dick James Music. The plan is to record an album and the band cuts a version of Elton John’s “Lady Samantha”. They also cut a version of Jack McDuff’s “Grease Monkey” but it is shelved after the album sessions are brought to a close following a disagreement over direction with Stigwood. Incidentally, Alan Gorey from flat mates Hopscotch plays bass and sings on one of the recordings.

(6) Billed as Geth Semane, they return to the Railway Hotel in Bishop’s Stortford, Herts for a show supported by White Mule.

(8) Gethsemane appear at the Industrial Club in Norwich. The advert says that the group has played the Marquee and the Middle Earth in Covent Garden

(11) Billed as Geth Semane, the band appear at the Staffordshire Yeoman, Stafford, Staffordshire

(13) The quartet plays at the Thing-A-Me-Jig in Reading, Berkshire.

(14) Billed as Gethsemany, the band appears at the Club Lafayatte in Wolverhampton, West Midlands with Barmy Barry.

(15) Gethsemane support Jethro Tull at the Hornsey Wood Tavern in Finsbury Park, London. Guitarist Martin Barre will audition unsuccessfully for the guitar spot in Jethro Tull shortly afterwards.

(26) Gethsemane appear at the Crown Hotel, Birmingham with The Redhouse Blues Band.

December (12) Gethsemane open for Pink Floyd at the Dundee College of Art in Dundee, Scotland.

(20) Westminster & Pimlico News‘ 20 December issue reports that Gethsemane have played at the Pheasantry on Kings Road recently. Around this time, the band plays its final show at a college in Brook Green, Hammersmith, having already decided to split up. Terry Ellis from Island Records attends the show and tries in vain to sign the band, but no one is interested. Ellis suggests that Barre audition for the lead guitar spot in Jethro Tull. Stevens sells his bass and uses the money to help finance his studies. He returns to college and later becomes a surveyor. Stevens currently lives in Chiswick. Ketley switches from keyboards to bass and reunites with Tomlinson’s predecessor Bernie Smith in the Southcoast band The Concords. He later becomes senior director at Yamaha Kemble Music UK Limited.

(24) Barre joins Jethro Tull after successfully auditioning a second time. His former band mate Malcolm Tomlinson allegedly also tries out on guitar as does his friend Louis McKelvey, who returned from Canada in July 1968 after playing in Influence. Barre and Tomlinson have visited McKelvey at his Colville Square home near Portobello Market.

(30) Barre makes his debut with Jethro Tull at the Winter Gardens in Penzance, Cornwall.

1969

January After reuniting with Louis McKelvey, who had worked with Tomlinson in the early 1960s Ealing band, Jeff Curtis & The Flames, the drummer leaves the UK with McKelvey and moves to Toronto where they form Milkwood. The band appears at the famous Rock ‘N’ Roll Revival show in September 1969 and record an unreleased LP for Polydor with Jerry Ragavoy producing. Tomlinson will go on to appear on recordings by Jay Telfer, Life, JFC Heartbeat, Rick James & The Stone City Band and Bearfoot among others before issuing two solo albums for A&M in 1977 and 1979 – Coming Outta Nowhere and Rock ‘N’ Roll Hermit. He later sings with The Cameo Blues Band but dies in April 2016.

Sources:
The Day Before Yesterday – Rock, Rythmn and Jazz in the Bishop’s Stortford area from 1957-1969 by Steve Ingless, Scila Productions, 1999.
Flying Colours by Greg Russo, Crossfire Publications, 2009.
The South Coast Beat Scene of the 1960s by Mike Read, Woodfield Publishing, 2001.

Many thanks to Bryan Stevens, Mick Ketley, Malcolm Tomlinson, Denny Alexander, Louis McKelvey, Greg Russo and Rosemary White.

Disclaimer: Concert adverts have been sourced from a number of music magazines and regional newspapers listed below. They have been reproduced fairly for research purposes and are not to be copied for any other use.

Live dates sourced from a number of sources including: Melody Maker, Western Evening Herald, Oxford Mail, Wrexham Leader. See other newspapers sources in the comments below.

Copyright © Nick Warburton. All Rights Reserved. No part of this article may be reproduced or transmitted in any from or by any means, without prior permission from the author. I have tried to ensure the accuracy of this article but I appreciate that there are likely to be errors and omissions. I would appreciate any feedback from anyone who can provide any additions or corrections. Email: Warchive@aol.com

Categories: Bognor Regis, England, West Sussex

The Penny Peepshow (featuring Martin Barre)

February 7, 2012 Nick Warburton 15 Comments

The Penny Peepshow in 1968, clockwise from centre: Martin Barre, Denny Alexander, Malcolm Tomlinson, Mike Ketley and Bryan Stevens

Denny Alexander (lead vocals)
Martin Barre (lead guitar)
Mick Ketley (keyboards, vocals)
Bryan Stevens (bass)
Malcolm Tomlinson (drums, vocals)

1967

August Having worked as The Motivation since November 1966, the latest line up returns from London to Bognor Regis to reinvent themselves. Eschewing their stax/soul sound and covers material, the band embraces the burgeoning psychedelic scene while singer Denny Alexander starts to write a batch of strong original material for the band. Initially, The Motivation work under the name The Penny Peepshow.

September (15-16) Having rehearsed the new material at the Shoreline Club in Bognor Regis, The Penny Peep Show begin to gig nationally. One of their first shows takes place at the Gala Ballroom in Norwich, Norfolk with Alex Wilson’s Sect and Chances of Life.

(17) The group travels across to the West Midlands for a concert at the Swan in Yardley with Jigsaw.

(23) The band plays at the Royal Ballrooms, Boscombe Royal Arcade, Boscombe, Dorset.

(25) The Penny Peep Show appear at the Belfry, Wishaw, West Midlands with Sight and Sound.

(29) The group plays at the Blue Powder Discotheque in Bilston Town Hall, Bilston, West Midlands.

October (7) The band returns to the Birmingham area to play a show at the Penthouse in the city centre with New Zealand band, The Human Instinct.

(14) The Penny Peep Show appears at the Flamingo Ballroom, Penzance in Cornwall with The Circuit Five.

(21) The group appears at the Steering Wheel in Weymouth, Dorset.

(22) The band plays at the Indigo Vat, Southsea, Hampshire.

(26) Billed as The Penny Peeps they play at the Concorde in the Basset Hotel, Southampton, Hampshire.

November (3) Returning to the West Midlands, they play at the Penthouse in Birmingham.

(4) The Penny Peep Show perform at the Ringway Club in Birmingham. Around this time they also play the freshers’ ball at Birmingham University where Bryan Stevens meets his future wife.

(9) The group appears at Carnival Hall, Basingstoke, Hampshire with The Wrong Direction.

(10) Originally booked to play at the Royal Ballrooms in the Boscombe Royal Arcade, Boscombe, Dorset, The Just Us is listed on the day the Bournemouth Evening Echo is printed. However, they may have played the day before after or before the Basingstoke gig.

(11) The group appears at St Nicholas Chamberlaine School in Bedworth, Warwickshire with The Matadors.

(19) Direct from London The Penny Peep Show appear at the Tudor Club, Mercers Arms in Coventry.

(24) One night at the 76 Club in Burton-on-Trent, Staffordshire.

December (1) The Penny Peep Show play at the Steering Wheel in Weymouth, Dorset.

(2) The band appears at Willenhall Baths Assembly Hall, Willenhall, West Midlands with The Bostons.

(3) The musicians return to the south coast and play at the Indigo Vat in Southsea, Hampshire.

(8) The Penny Peep Show play at the Boscombe Royal Arcade, Boscombe, Dorset.

(10) Another show takes place in the West Midlands with the band appearing at the Swan, Yardley with Magazine.

(20) The band performs at the Steering Wheel in Weymouth, Dorset.

(23) The Penny Peep Show play at the Indigo Vat in Southsea, Hampshire.

(25) Through Pete Hockham, formely an agent at Bob Gaitley’s Beat Ballad and Blues Agency in Worthing and now working for the recently deceased Brian Epstein’s North End Music Stores (NEMS) agency, The Penny Peep Show sign to NEMS. They start to perform on the London scene with a show at the popular nightclub, Hatchettes on Piccadilly.

(30) The group appears at the Wellington Club in Dereham, Norfolk with The Special Offer.

1968

January The Penny Peep Show sign a deal with Liberty Records and begin recording over an album’s worth of original material, most of which comprise demos. Alexander has acquired a songwriting contract with Metric Music, which requires him to produce a certain amount of songs in a given period. The band are paid as session musicians to record the demos in a studio behind the Marquee in Wardour Street. A couple of Alexander’s strongest numbers – “Helen Doesn’t Care” and “Into My Life She Came”, the latter featuring Barre on flute, will surface decades later on Rev-Ola’s compilation CD Psychedelic Jumble Volume One in 2007.

(2) Billed as The Penny Peeps, the musicians appear at the Concorde in the Basset Hotel, Southampton, Hampshire.

(5) The band returns to play at the Royal Ballrooms, Boscombe Royal Arcade, Boscombe, Dorset.

(28) The Penny Peep Show play at the Castaways Discotheque in Birmingham with The Stretch Wilcox Limbo Dancers.

February (2) The Penny Peep Show appear at the Steering Wheel in Weymouth, Dorset.

(8) Billed as The Penny Peeps, the band makes a notable appearance at the 100 Club on London’s Oxford Street with The Mike Stuart Span.

(9) Reverting back to The Penny Peep Show, they travel to Nottingham to play at the Nottingham Boat Club.

(11) The next day, the band appears at the Blue Ball Hotel in Risley, Derby.

(16) Liberty Records releases The Penny Peeps’ debut single, a cover of Les Reed and Barry Mason’s “Little Man With A Stick” backed by Alexander’s mod rocker “Model Village”, which becomes a cult classic and is picked up for various compilation albums over the years, most notably the Rubble CD Acid Drops, Spacedust and Flying Saucers. The band, however, is not happy about the decision to release “Little Man With A Stick”. The musicians had lobbied for “Model Village” to be the A-side, backed by another one of Alexander’s numbers, “Meet Me At The Fair”. The latter track remains unreleased until being picked up by Rev-Ola for Psychedelic Jumble Volume One. Tony Blackburn opens his Radio 1 show every morning with “Model Village” for a week but the single fails to chart.

(17) The Penny Peep Show appears at Framlingham Assembly Hall, Framlingham in Suffolk.

(22) Having changed name to The Penny Peeps, the band is invited to back The Scaffold and perform in its own right at the Dome in Brighton on a bill that also features The Bonzo Dog Doo-Dah Band.

(25) The band (billed as The Penny Peep Show) play at the Cellar Club, the County, in Blaby, Leicestershire.

(28) Returning to London, the band appears at the Speakeasy on Margaret Street.

(29) The Penny Peeps appear at the Concorde in the Basset Hotel, Southampton.

March (8) The Penny Peeps perform at the Nottingham Boat Club.

(17) The Penny Peeps perform with the Way of Life at the Crown and Cushion Club in Birmingham.

(22) Billed as The Penny Peep Show, they play at the Fiesta Hall, Andover, Hampshire.

(23) The Penny Peeps return to Nottingham for a show at the Beachcomber Club.

(31) The band plays at the Linden Sports Club, Bournemouth, Dorset.

April (3) The Penny Peep Show appear at the Steering Wheel in Weymouth, Dorset.

(20) The Penny Peeps play at the Cobweb, Marine Court, St Leonards, East Sussex, with Tony Rivers & the Castaways.

(25) Billed as The Penny Peep Show, the band appears at Hatchetts Playground in Piccadilly, central London.

May (3) Billed as The Penny Peeps, they perform at the Nottingham Boat Club.

(12) Billed as The Penny Peep Show, they appear at the Forty Thieves, Swinging Discotheque in Coventry.

(18) The Penny Peeps perform at the Walton Hop in Walton-on-Thames, Surrey

(31) The Penny Peep Show appear at the 400 Ballroom in Torquay, Devon

June (6) The group appears at the Summer House, the Portway, Kingswinford, West Midlands.

(15) The Penny Peeps play at the Beachcomber Club in Nottingham.

(16) The band returns to Linden Sports Club, Bournemouth, Dorset.

(21) Liberty Records releases The Penny Peeps’ second single, coupling Alexander’s “I See The Morning” with “Curly, The Knight of The Road” but it fails to chart.

July (2) The Penny Peeps appear at the Concorde in the Basset Hotel, Southampton, Hampshire.

(13) Another show takes place at the Beachcomber Club.

(18) The Penny Peeps appear at Liberal Hall, Yeovil, Somerset with The Knock-Out.

(25) Billed as The Penny Peep Show, the band returns to London for a show at the Hatchetts Playground.

(27) Billed again as The Penny Peep Show, they appear at Leicester Rowing Club with The Trendmen.

(28) Reverting back to The Penny Peeps, they return to the Linden Sports Club in Bournemouth.

August (2) The group are billed to play at the Bag O’ Nails in Kingley Street, Soho, central London around this time (see below) but it’s not certain they appear.

(3) Billed again as The Penny Peep Show, the band appears at the Swan, Yardley, West Midlands with Gilt Edge. Soon after this gig, The Penny Peep Show are playing at a venue where their current set list meets an icy response. Alexander suggests that they play some blues, which goes down a storm. The band decides to move in a blues rock direction and changes name to Gethsemane. Within a week or so, Alexander opts to leave and Ketley and Tomlinson assume joint lead vocals. Alexander will retire from professional playing and try his hand as a trainee publican. Back in Liverpool, he gathers together some friends and records six tracks during 1972. The songs – “Don’t Let It Rain (Wedding Day)”, “Crossroads of Life”, “My Last Goodbye To You”, “I’d Like To Get To Know You Girl”, “Your Alive” and “Babe I Love You” remain unreleased to this day. He subsequently turns his back on the music industry and works in the financial services industry, retiring in the early 2000s.

(4) The Penny Peep Show play at the Walgrave, Coventry.

September (7) Billed as The Penny Peeps they perform (with St John’s Wood) at the Cobweb, Marine Court, St Leonards, East Sussex.

The Penny Peepshow in 1968, clockwise from bottom left: Martin Barre, Denny Alexander, Malcolm Tomlinson, Bryan Stevens and Mike Ketley

Sources:
Flying Colours by Greg Russo, Crossfire Publications, 2009.
The South Coast Beat Scene of the 1960s by Mike Read, Woodfield Publishing, 2001.
The Tapestry of Delights Revisited by Vernon Joynson, Borderline Productions, 2006.

Many thanks to Bryan Stevens, Mick Ketley, Denny Alexander, Malcolm Tomlinson and Mick Capewell.

Live dates sourced from various sources, including: Melody Maker, Nottingham Evening Post, Birmingham Evening Mail, Evening Argus (Brighton), Eastern Evening News (Norwich), Ipswich Evening Star. Other newspapers sources are listed in the comments below.

Penny Peepshow program bio with photo in Isleworth - Martin Barre, Mike Ketley, Denny Alexander, Malcolm Tomlinson and Bryan Stevens — In Isleworth – Martin Barre, Mike Ketley, Denny Alexander, Malcolm Tomlinson and Bryan Stevens

Above, in Isleworth, left to right: Denny Alexander, Malcolm Tomlinson, Martin Barre (sitting), Bryan Stevens and Mick Ketley

Categories: California, Golden Gate, San Francisco

The Vandals on Golden Gate Records

February 3, 2012 Chris Bishop 30 Comments

The Vandals, San Francisco, January 1966

My friend Derek Taylor sent me this batch of photos of a band that he found last year in San Francisco. Written on the back of the two larger photos is “Vandals – Jan 1966” in neat handwriting, plus the band’s name is shown behind the bassist in one shot.

A photo of the bass guitarist similar to the one below was reproduced in a newsletter or yearbook for the St. Ignatius High School (now St. Ignatius College Prepatory) at 37th Ave and Quintara in the Outer Sunset district of San Francisco.

On the back of this clipping is a list of names sporting and events that took place during the four years of that class of ’66 or ’67 with some names (though not of the band) – Vince Spohn, Jim Nevin, Rich Wilpitz, and Den Carter.

Mike Dugo pointed out this was the same group that recorded for Joe Brattesani’s Golden Gate Records – “I Really Want to Want You” b/w “A Reason” and “It’s Like Now Baby” b/w “Wet & Wild” & “Mustang Georgie”

Cosmo Violante – vocals
Joe Tarantino – guitar and vocals
Nick Paolini – bass and vocals
Ned Bawden – keyboards
Curt Mellegni – drums

Nick Paolini passed away in 1970.

Bassist Nick Paolini of the Vandals — Bassist Nick Paolini

Clipping featuring Nick Paolini from similar photo to the one above

Categories: Arc Records, Canada, Ontario, Toronto

Patrician-Anne

January 26, 2012 Chris Bishop 9 Comments

P.F. Sloan's Blue Lipstick, Patrician-Anne, Billboard, November 13, 1965 — Billboard, November 13, 1965

Ivan Amirault sent in these two great ads for Patrician-Anne, who had a single featuring a P.F. Sloan original “Blue Lipstick” b/w “What About Me” on Arc 1113 from late ’65.She also has the great “Changin’ Time” on the CTV After Four LP that is best known for the song “Four in the Morning” by the Quiet Jungle (as the Scarlet Ribbon).

Patrician-Anne was the stage name of Patrician Anne McKinnon, sister of singer and actress Catherine McKinnon, and wife of Brian Ahern, a long-time producer and musician.

Brian had his own groups, the Offbeats and the Badd Cedes, whose song “Dolly Magic” was released on two singles as the Chapter V: Verve Forecast KF5046 with “The Sun Is Green” and again on Verve Forecast KF5057 with “Headshrinker”, all three songs Ahern originals. Brian also played with 3’s a Crowd. More on the Badd Cedes at Nova Scotia Classic Rock.

Patricia often appeared on Frank Cameron’s TV show, Frank’s Bandstand. An Arc LP Do You “Wanna” Dance (The Best of Frank’s Bandstand) has covers of “I Only Want to Be With You” and “As Tears Go By”, credited to Patricia McKinnon, along with a couple songs by the Offbeats, “Wild Weekend” and “Swingin’ Shepherd Blues”.

Patrician-Anne is also featured on various volumes of CBC-TV’s Singalong Jubilee, which I haven’t heard.

Categories: Vermont

WFMU Record Fair this weekend

October 27, 2011 Chris Bishop Leave a comment

Marc Winokur LP God Fearin' Man — Marc Winokur – anyone know him? God Fearin’ Man, recorded at Jack’s Window Studios in West Wardsboro, Vermont

I’ll be selling records this Saturday and Sunday, October 29 & 30 at the WFMU Record Fairin Manhattan. I’ll be at table C-22, towards the back of the room. I’ll be peddling a few rare garage 45s, plenty of LPs, and even some 78s.Please come by and say hello, I’d like to meet any regular readers of the site. If you haven’t been before, please be advised it’s insanely crowded until late in the day.

Les Jaguars Tournesol LP vol. 2 — Les Jaguars!

Categories: Billings, Montana, Warrior

The various Warrior labels

October 19, 2011 Chris Bishop 13 Comments

Chan Romero’s Warrior label from Montana

Pueblo, Colorado group on a small Montana label!

I’m trying to clear up some of the confusion about the various Warrior labels that existed in Texas, Montana, Louisiana and California.

Let’s start with Chan Romero’s Warrior label from Billings, Montana:

I’ve read that Chan, a one-time Pueblo, Colorado resident best known for writing and recording “Hippy Hippy Shake” owned the Warrior label that released the great single “I Don’t Recall” by the Trolls (also from Pueblo). I was uncertain of this, as a notice in Billboard announcing the formation of Romero’s Warrior label in Billings, Montana came much later – 1971. However, Lisa Wheeler of Pueblo City Limits related that Chan told her he was indeed the owner of Warrior, starting it in Billings as early as 1962.

Billings, Montana. Chan Romero, owner, circa 1962-1966:

likely incomplete – any help with this would be appreciated
Warrior L-128 – Kostas – “Something We Call Love” (C. Romero) / “Jane” (Kostas Lazarides) ( Crooked Rock Music, BMI, 1962 or later)
Warrior L-140-1- The Wanderers – “Don’t Pity Me” / “Give Me All You Got”
Warrior L-173 – Trolls – “I Don’t Recall” (Richard Gonzales, Warrior Tunes BMI) / “Stupid Girl” (November 1966)
Warrior L-219 – Chan Romero – “Lost In Love” / “Billie” (can anyone provide a label scan?)
Warrior OV-105 – Stan Campbell – “Any Time” (Happy Lawson) / “Just One More Dance” (Stan Campbell) (date?)
Warrior WS-106 – Faith, Hope & Charity – “That’s What the People Said” / “Hey, Hey World” (1971),
Warrior WS-114 – Lonnie Bell and the Yellowstone Dudes “The Last Mile” / “Montana Song”
Warrior NRF-542 – Chan Romero – “The Best Thing I Ever Had” / “The Fire in My Light” (“recorded in Canada”)

For more info see also:
Chan Romero discography at WangDangDula.com.
Interview with Chan Romero at Rockabilly N Blues Records.

Other Warrior discographies:
Any help with these would be appreciated:

same Texas company as the Dayton Smith 45, but moved 30 miles north to San Antonio with different label design

Pleasanton, Texas and San Antonio. E.J. Henke, owner, 1957-1959. Emil J. Henke would go on to own the Satin label also covered on this site.

Warrior WA 501 – Dayton Smith & the Roving Warriors – “What Will the Answer Be” / “Standing by a Seashore”
Warrior WA 502 – Red Hilburn – “Three Words” / “The Rambling Blues”
Warrior WA 503 – Opal Jean – “I’ll Never Forget My Kind of Boy” / “I Heard His Heart Break Last Night” (reviewed in Billboard Sept. 30, 1957)
Warrior WA 504 – Franklin Smith with Roving Warriors Band – “No Wonder I Wonder” / “A Golden Dream of You” (1957, blue ‘Chief’ label with Pleasanton address)
Warrior WA 505 – Jerry Smith – “I Don’t Care What They Say” / “I Couldn’t Win Your Love” (1958)
Warrior WA 506 – Al Dean & His All Stars – “Fragile Heart” / “Blue Sky Waltz”
Warrior WA 507 – Doug Sahm & the Pharoahs – “Crazy Daisy” / “If I Ever Need You”
Warrior WA 508 – Al Dean – “I Shot Billy” / ? (1959)

Hollywood rockabilly label from late ’50s

Hollywood, California, 1959:

Warrior W-1554 – Bobby Lee Trammell – “Open Up Your Heart” / “Woe Is Me” (May 1959)
Warrior W-1555 – Curtis Lee – “Pure Love” / “With All My Heart (I Love You)” (1959)
Warrior W-1556 – Joey Norman – “King of Fools” / “Heart of Mine”
Warrior W-1557 – ?
Warrior W-1558 – ?
Warrior W-1559 – ?
Warrior W-1560 – Frankie Knight – “Unchained Melody” / “Call Me”

North Hollywood, owned by Tom Sawyer, 1966

Only one release I know of:
Warrior W-166 – Our Gang – “Careless Love” (D. Duvall, Huckleberry Music, BMI) / Heartbeat (1966, prod. by Tom Sawyer)

Doesn’t seem to be connected to the earlier Warrior label from Hollywood. Tom Sawyer also had the Trident label. Our Gang were from Buena Park by Los Angeles (info from Mike Markesich). This band Our Gang is not the Colorado Springs group who cut “Rapunzel” / “Here Today, Gone Tomorrow”.

Another Warrior label from California

Warrior SM-1007/SM-1008 – Simon T. Stokes “Big City Blues” (Clifton) / “Pow! Zap! (I’m the Bat)” (Murray-Clifton) January 1966, produced by John Herring, Sawtell & Herring Music, ASCAP

Simon Stokes would record several different versions of “Big City Blues”. After the Warrior release, he would cut it for the HBR label (HBR 487) in July of ’66, with new flip “Truth Is Stranger Than Fiction” (Simon Stokes) and arrangement credited to Harold R. Battiste, Jr., and A&R by Larry Goldberg. He made a third version b/w “Cobwebs” on the In-Sound label in 1967, and also released it on MGM K14135 as by Simon Stokes and the Night Hawks, prod. by Michael Lloyd for Voodoo Prod. Stokes was also a member of the Perpetual Motion Workshop (“Infiltrate Your Mind” / “Won’t Come Down” on Rally), the Flower Children (“Mini Skirt Blues” on Castil and Allied) and recorded as Simon T. Stokes & the Nite Hawks on Elektra.

Louisiana:
1001 – Guy Spitale – “Who’s That Woman” (W-101) / “It’s Over Forever” (W-102)

1002 – Guy Spitale – “Returning Your Letters” (W-103 )/ “Scroungy” (W-104) (white label w/ red printing)

Unknown locations:
RFF 777 – Ivan X – “Edge of Night” / “Tell Tale Heart”

Special thanks to Westex of Lone Star Stomp, Drunkenhobo, Bob of Dead Wax, Collin Pruit of Inkmathematics, Dave Martens, Kurt Rokitta and Andy for their contributions to these discographies. Thank you to Dominic Welhouse for the Simon T. Stokes scans.

Check out Dave Marten’s page on Montana bands at Long Time Comin’ – Lost Sounds from the Treasure State.

Thank you also to Lisa Wheeler for scans, info and continued updates regarding Chan Romero.

Garage Hangover