Graves Discography (Graves Recording Service)

Here’s an incomplete listing of released recordings made at Alan Graves’ studio Graves Recording Service, primarily the rock 45s:

45s:

Graves 1091 – The Dominions – “I Need Her” / “Spanish Harlem”
Graves TRK 1093 – Little John & the Monks – “Woman Take a Trip” / “All Them Lies” (demo acetate only)
Graves 1094 – The Sires – “Don’t Look Now” / “Come to Me Baby”
Tork 1095 – The Moguls – “Another Day” / “Round Randy” (Dec. 1966)
Graves 1099 – The Ethics – “She’s a Deceiver” / “O.K.” (March 1967)
Graves 1100 – The Fifth Row Bac – “Please Don’t Go” / “Destination Train”
Graves GRS 1102 – Smokey Metcalf And His Timber Toppers – “How Can You Love Me” / “Don’t Come Knocking At My Door”
Graves 1104 – The Phantoms – “Hallucinogenic Odyssey” / “Sixty Minutes To Nine” (1967)
F-Empire 1106 – The Barber Green – “Gliding Ride” / “Life” (August 1968)

LP:

F-Empire (no #) – Beauregarde (features Beauregarde on vocals, Greg Sage lead guitar, Omar Bose keyboards and trumpet, Dave Kolpel bass, Allen Robinson congas and sax, and Jay Lundell on drums.)

The Moguls had two previous 45s: “Avalanche” / “Ghost Slalome” on Century 20449 in Phantoms Graves 45 Sixty Minutes to NineFeb. ’65, and “Ski Bum” / “Try Me” on Panorama 29 in March of 1966.

The Phantoms 45 on Graves lists the band members: Rudie Muller, Steve Reiter, Dennis Chu, Brian Ashbrough and Geoff Soentpiet. Rudie Muller sings lead on “Sixty Minutes to Nine”, Geoff Soentpiet sings lead on “Hallucinogenic Odyssey”. The Phantoms had an additional 45 on Ridon 859, “Story of a Rich Man” / “Our Great Society” both by Ashbrough and Soentpiet.

I asked Alan Graves about the bands that recorded in his studio in the 60’s and sent him a list of what I knew had been cut there:

The only record I can add is one done on the F-Empire label, GRS 1106, “Gliding Ride” and “Life” by the Barber Green.

There may be other “garage” bands, but most of the stuff I did was local schools, etc – some gospel and dixieland jazz band stuff.

None of the records pressed were released by me, but were the property of the individual bands -who either gave them away or sold them. Most were done in a limited press of 500 copies each. So if you have any of them, I guess you could say they are rare. Since the records were the property of the bands, I rarely kept any copies – and have none now.

I re-activated the studio by acquiring a Scully Mastering record cutting Lathe, and under the name of “The Audio Lathe” cut lots of “acetate” records for DJ’s and juke boxes.

I sold that last November, and now back to just hosting the History of the Presto Recording Corp on the internet.

Update: Alan’s Presto history at www.televar.com/grshome/Presto.htm is now defunct, but is available on the Internet Archive.
Phantoms Graves 45 Hallucinogenic OdysseyPhantoms Ridon 45 Our Great Society

To right, the Phantoms’ second 45, recorded at Ridon by Rich Keefer Thank you to Barry Wickham for the scan. Thanks to Dale for pointing out the Smokey Metcalf.

The Current Records label

In 1964, John Fisher was president of Crusader Records, where he produced a sizeable hit, Terry Stafford’s “Suspicion”, the second release on the label, as well as a 45 by Johnny Fortune. A notice in Billboard on August 15, 1964 announced that Fisher departed Crusader suddenly, to be replaced by Harry Maselow.

The notice doesn’t say why Fisher left, but in October, Billboard announced his formation of Current Records. Fisher’s name is on almost every Current single as producer.

The first release on Current Records was Bob Moline’s “Forbidden”, in September or October ’64, which was soon picked up on Imperial label for national release. Fisher produced and Bob Summers did arrangments.

Johnny Fortune (John Sudetta) was a fine guitarist with a number of surf recordings prior to his Current singles, first on Emmy Records out of Paul Buff’s Pal Studios in Cucamonga
(same label for Johnny Fisher’s own 45, “Tell Me Yes” / “Dream Tonight”). Johnny Fortune’s biggest was “Soul Surfer” on Park Ave Records, also produced by Fisher.

Johnny had three 45’s on Current. I’ve heard both sides of the first, the light pop songs “Say You Will” / “Come On and Love Me”. Better is the top side of Current 104, “Don Stole My Girl”. I haven’t heard the flip to that or his third 45, “I Am Lonely For You” / “I’ll Never Let You Go”.

Two other singers represented on the label include Carl Otis, who has what I believe is a soul 45, “Let It Be Me” / “Never Take Away My Love”, and Bobby Jameson, whose “All Alone” is a fine Stones-y r&b with harmonica, backed with the poppier “Your Sweet Lovin'” came out in early ’65, after his Talamo singles.

The Avengers were from Bakersfield, and are best known for their 45 on the Starburst label, “Be a Caveman”. Both sides of their Current 45 are also excellent, “Open Your Eyes” / “It’s Hard to Hide”. You can read the full story of the Avengers at Flower Bomb Songs.

John Fisher’s earlier promotional work in Arizona and other western states may have helped bring two groups from Tucson, Arizona to the Los Angeles based Current Records. For more on The Five of Us see the separate entry here.

The Tongues of Truth were really known as the Grodes and also came from Tucson. Manny Freiser of the Grodes had long-standing connections in L.A., first with Jerry Kasenetz who produced his first recording, “I Won’t Be There”. Kasenetz’s roommate Jerry Bruckheimer brought in a the Hustlers to work with Manny and they became the Grodes. Though the band made Tucson their base for live shows, they made further L.A. connections including the disc promoter Mike Borchetta, actor Cass Martin and KRLA DJ Emperor Bob Hudson.

Emperor Hudson had his own 45 on Current, also released on RPR records, the very demented “I’m Normal” (“I fill my bathtub with strawberry jam, and feed my squirrels sugar-cured ham and I spread rumors that Stalin is dead, has to do with wearing a sheepskin when he died in bed … made that up!”), The Emperor’s Friend may be Ron Landry.

For an interesting look at Bob Hudson check out George Lucas’ student film The Emperor.

The Tongues of Truth is of course, the Grodes, and “Let’s Talk About Girls” was the original version of the song later covered by the Chocolate Watchband. The Grodes fired their manager Dan Gates for changing their band name for the single. To add to John Fisher’s connection with the Impression label, the Grodes also issued a 45 on Impression, “What They Say About Love” / “Have Your Cake And Eat It Too” (anyone have a good scan of that 45?).

Current Records 45 discography (any help to make this complete would be appreciated)

Current 100 – Bob Moline “Forbidden” / “If I Were An Artist” (need a scan for this one, either side)
Current 101 – Johnny Fortune “Say You Will” / “Come On and Love Me”
Current 102 – Carl Otis “Let It Be Me” (E. James, Carl Otis for Lightswitch-Jinco BMI) / “Never Take Away My Love” C-1115 prod John Fisher
Current 103 – Bobby Jameson “All Alone” / “Your Sweet Lovin'” (Monarch press #54578/9, Oct. ’64)
Current 104 – Johnny Fortune “Don Stole My Girl” (J. Sudetta, Lightswitch/Algrace BMI) / “You Want Me to Be Your Baby” prod. J. Fisher (Feb. 1965)
Current 105 – Johnny Fortune “I Am Lonely For You” / “I’ll Never Let You Go”
Current 106 – ?
Current 107 – ?
Current 108 – ?
Current 109 – Avengers “Open Your Eyes” (G. Blake) / “It’s Hard to Hide” (G. Likens) both songs Lightswitch Music BMI, prod. by J. Fisher, distributed by Periphery Prods., Inc
Current 110 – Five of Us “Hey You” (L. Hucherson) / “Need Me Like I Need You” (July ’66)
Current 111 – The Emperor “I’m Normal” (Bob Hudson) / The Emperor’s Friends “The Crossing Game” (E. Mackinon), prod. by Fisher
Current 112 – The Tongues of Truth “Let’s Talk About Girls” / “You Can’t Come Back” both by Manny Freiser for Lightswitch Music BMI (prod by John Fisher, May 1966)

This is not to be confused with the Current label out of Nashville in the ’70s.

John Fisher may have also owned the Rally label – I’d like to know more about this, if true. It seems he went back into promotions, as a John Fisher was working for Atlantic Records in the early ’70s.

Johnny Fortune Current 45 Don Stole My GirlEmperor Current 45 I'm Normal

The Rally Records label

I can only find half a dozen releases to list for the Rally Records label. In the notes from the Bacchus Archives CD Let’s Talk About Girls! Music from Tucson Manny Freiser of the Grodes recalls John Fisher as a disc promotion man who owned the Rally and Current Records labels. Current was definitely Fisher’s, but I can’t find Fisher’s name on any of Rally’s labels, but he did produce the Grodes on Current.

Rally Records labels show other producers: Bob Todd, George Motola, Joe Saraceno, Tony Butala and Dan Gates.

Billy Quarles’ “Bringing Up What I’ve Done Wrong” was picked up by Columbia (as “Quit Bringing Up What I’ve Done Wrong”. The flip is listed as by Billy & the Ar-Kets and is an excellent r&b popcorn number.

Beverly Noble’s “Better Off Without You” is a Gold Star studio production, with string arrangements and Spector-like effects.

Hillary Hokum’s 45 is very pop. I have confirmation that this is Suzi Jane Hokum (it does sound like her).

The Agents were an obscure band from somewhere in the Los Angeles area. I don’t know who was in the group. I had a post on them up for years that received no comments, so maybe the name is a front for another band or studio group. “Gotta Help Me” is a stomping couple minutes of garage pop. The flip is a ballad, “Calling An Angel”.

Each side has its own set of producers and are very different in sound, I could doubt it’s the same group of musicians. “Gotta Help Me” was written by Richards, Todd, Markey and Shay, and produced by Markey and Todd. “Calling An Angel” was written by Johnny MacRae and Bob Todd, and produced by Todd and Tony Butala.

The Grodes’ “Love Is A Sad Song” / “I’ve Lost My Way” comes about mid-way in their discography. The flip is one of my favorite slower-tempo garage songs.

The Perpetual Motion Workshop single comes over a year after the previous Rally release, and possibly represents a different label altogether. In any case, it’s a great single.

Rally Records 45 discography
possibly incomplete – any help would be appreciated

Rally 501- Billy Quarles “Bringing Up What I’ve Done Wrong” (Lanny and Robert Duncan, Wrist Music BMI) / Billy & the Ar-Kets “Little Archie” (prod. by Joe Saraceno, arr. by Rene Hall) Δ 56140 / Δ 56140-X in the deadwax indicates March of 1965 pressing date.

Rally 502 – Beverly Noble “Better Off Without You” (George Motola – Ricky Page, Wrist-Rickland Music BMI)) / “Love of My Life” (G. Motola) – produced by Motola & Saraceno, arranged by Don Ralke. Δ 56866 / Δ 56866-X indicates May, 1965.

Rally 503 – Hillary Hokom (aka Suzi Jane Hokum) “Can’t Let You Go” / “Tears of Joy” (Lanny Duncan, R. Duncan, Tonto Music, BMI) Prod. by Tony Butala and Bob Todd. Δ 58838 / Δ 58838-X indicates September 1965.

Rally 504 – The Agents “Gotta Help Me” / “Calling An Angel”. Δ 59279 / Δ 59279-X indicates October 1965.

Rally 505 – Grodes “Love Is a Sad Song” (M. Freiser, Lightswitch BMI) / “I’ve Lost My Way” (M. Freiser, Ramhorn Music BMI) (prod. by Dan Gates, May, 1966)

Rally 507 – The Senate – “Slippin’ And Slidin'” / “Mary-Go-Round” (prod. Bob Todd & Bob Duncan)

Rally 66506/7 – Perpetual Motion Workshop “Infiltrate Your Mind” (Simon Stokes, Fifth Avenue Music BMI) / “Won’t Come Down” (Dave Briggs, Cannon Music ASCAP) Prod. & arr. by Dave Briggs and Simon T. Stokes, Sept. ’67)

Likely an unrelated label:
Rally R-1601 – Rico & the Ravens – “Don’t You Know” (J. Foust, R. Martin) / “In My Heart”

Thank you to Max Waller for his continuing contributions to this discography, and to Tony Butala for correcting some misspellings.

The Flexmen

Flexmen photo
Standing from top left: Pete Ross (guitar), John Carroll (organ), Dalek (security) & Kenny Power (sax). Kneeling, from left: Steve Horrell (road manager), Hans Herbert (drums) & Pete Carney (bass)
July 4, 1964
July 4, 1964

Judging by an article (at right) in the Middlesex County Times and West Middlesex Gazette from 4 July 1964, The Flexmen came from the Ealing, Middlesex area. The line up comprised:

Pete Ross – guitar
Pete Carney – bass
Ken Power – sax
Bob Sellars – sax
Hans Herbert – drums

Peter Carney had started out playing rhythm guitar with Ealing band, The Krewsaders during 1962. Formed with his cousin, lead guitarist Micky Holmes, the pair added drummer John “Speedy” Keene, after coming across the young sticks man at a local youth club. Keene in turn introduced John McVie.

“Speedy said that he knew this guy who wanted to join a band and that his father would buy him a bass guitar and amp if he did,” recalls Carney on McVie’s addition to The Krewsaders.

Unfortunately, in early 1963, McVie left to join John Mayall’s Bluesbreakers and his departure contributed to the group’s break up.

“John McVie lived near a guy named Cliff Barton who played with Cyril Davies and told John that John Mayall was looking for a bass player and got the gig,” remembers Carney.

With Micky Holmes and Speedy Keene forming rival Ealing band, The Second Thoughts, who became regulars at the Ealing Club, Peter Carney swapped to bass and formed a new band with lead guitarist Pete Ross, who knew and lived near The Krewsaders’ manager, Steve Horrell.

According to Keith Gardiner, rhythm guitarist with Jeff Curtis & The Flames, Pete Ross had worked with him and future Jimi Hendrix sticksman Mitch Mitchell in a rudimentary band at Tudor Rose Youth Club in Southall, Middlesex in late 1957.

As Ross recalls, his playing history did indeed go back to youth club groups in the late 1950s during which time he listened to a wide range of music – Segovia, Barney Kessel, Chet Atkins and Hank Marvin to name a few.

“I started on the ukulele and moved up to an acoustic guitar which I found in a second-hand shop – finally on to a Broadway guitar, which had a couple of pickups and a tremolo arm so I could do all those ‘Shadow-y’ things,” he says.

Thanks to an older sister who “chaperoned” him to Southall Community Centre every Sunday to catch top artists of the era like Gene Vincent, Johnny Kidd & The Pirates, Little Richard and Chuck Berry, Ross developed a broad taste in music although he says his main focus was on US artists such as Richard Barrett.

Flexmen photo

Flexmen photoThe lead guitarist knew Steve Horrell, who lived around the corner from him and also owned a red-pillar box early Ford Transit van, which would become The Flexmen’s mode of transport. It was Horrell who linked the two Peters up.

“Pete and I immediately hit it off and realised we both wanted to play the same kind of music with him heavily into Bob Dylan, Doris Troy, and loads of other ‘obscure’ artists whose music was enlightening,” says Carney.

“We were both in awe of Cliff Bennett & The Rebel Rousers and would go and watch them at Southall Community Centre whenever they played there so decided that this is what our band would be like.”

After scouring the local youth clubs, the pair came across sax player Kenny Power, who introduced his sax playing friend Bob Sellars. Drummer Hans Herbert completed the line up not long after. The drummer says he already knew Power through a mutual friend called “Podge”.

Herbert had first got into drumming after befriending Speedy Keene during The Krewsaders’ period. “One time after they had finished playing at a gig, he asked me if I would like to have a go on the drums,” says Herbert. “He said I was a natural and that there were plenty of bands out there looking for drummers.”

Herbert’s first band was The Raiders. After a very brief spell with another local group, The Saints, the drummer joined his first big band, The Rumours.

The band debuted at Elthorne Youth Club. According to the Middlesex County Times and West Middlesex Gazette, the band played at Ealing Town Hall on 11 September 1964 and 8 October 1964 (where The Second Thoughts, featuring Micky Holmes and Speedy Keene, also appeared on the bill).

The Flexmen also appeared at Victoria Hall, Ealing on 26 June 1964 and 24 November 1964 (sharing the bill with Jimmy Royal & The Hawks). Another gig from this period took place at Shackleton Hall in Southall on 4 December 1964. As Pete Ross points out, the band was frequently mentioned in the newspaper. “A close school friend of mine – Mike Ryder – was a journo on the Middlesex Times and gave us column inches on a regular basis.”

Sometime during this time, The Flexmen took part in a “Battle of the Bands” competition at Wimbledon Theatre where they came second. Not long after, however, Bob Sellars departed and the group recruited organ player John Carroll. “When John joined with his Vox Continental, we included songs by The Animals and other keyboard-y stuff,” remembers Ross. The band also recorded a series of demo tracks, including covers of “Fortune Teller”, “Poison Ivy” and “Reelin’ and Rockin’”.

However, around July 1965, new recruit Carroll answered an advert in New Musical Express, asking for an organist to join a band to tour Poland. The group, known as The London Beats, needed a bass player and Peter Carney passed the audition.

With Carroll and Carney out of the picture, The Flexmen splintered. Hans Herbert joined The Rumours and then The Just Four, who changed name to The Guests in 1966.

It’s not clear what Kenny Power did immediately after the band’s break up that summer. However, during  late 1966 he reunited with Hans Herbert in another west London band called The All Night Workers.

After touring Poland for about three months, Peter Carney and John Carroll decided not to participate in a second tour. Carney next joined Tony Knight’s Chessmen in late 1965 but after a year he jumped ship to join Geno Washington & The Ram Jam Band.

Carroll, meanwhile, worked with several other local bands before reuniting with Carney in The Chessmen. In early 1967, however, he joined Nick Simper, Mick Stewart and John Kerrison in a very short-lived version of The New Pirates (formed after Johnny Kidd’s death) and toured the UK.

Around May 1967, Carney reunited with Carroll once again and also Hans Herbert when he managed to recruit them into Geno Washington & The Ram Jam Band. The reunion was short-lived, however, and both musicians were replaced before the decade was out.

Flexmen photo

Flexmen Christmas cardCarney subsequently moved to Australia where he played with The Bullamakanka Bush Grass Band. He has since returned to the UK and currently plays with English folk band, Hawkie Chapman.

As for Pete Ross, in the summer of 1965, he signed up with a six-piece R&B band from West London called The Ray Martin Group, who were a regular fixture at the Ealing Club throughout 1965 and later at nearby Feathers. The band’s line up also included singer Ray Martin, sax player Terry Marshall (son of the famous Jim Marshall) and drummer Paul Atkinson.

Ross went on to work with a number of bands before starting up the worldwide company CP Cases along with a drummer friend who also worked in Jim Marshall’s shop in Hanwell. The Isleworth, Middlesex-based company designs and manufacturers hi-performance protective cases for transport, operation and storage of essential equipment.

Many thanks to Peter Carney, Hans Herbert and Pete Ross for helping to piece together the band’s story. Thank you Pete Ross for supplying the band photos.

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.

Garage Hangover would be interested to hear from anyone who can provide more information on this band. Contact the author at Warchive@aol.com.

Photo: Hillingdon Mirror 27 April 1965 page 24

The Invicta Way and Shades McRay

It’s not certain if the label is The Invicta Way and different artists are listed at the top, or the group was The Invicta Way, and each side of the record has its own label name, or sub-artist.

“What Am I to Do” has Someone Else listed at the top. The keyboard sound is a combo organ, possibly a Gibson Kalamzoo, with distortion effect or overdriven amp (thanks to Mike’s comment below for the info).

“Things As They Should Be (Two Flowers Spreading Love)” has ‘Du Rango La Platz’ where the label name would usually go. I’m not sure what this refers to.

Dead wax reads INVICTA 45-2301/2 BRS. However, both songs were written by McRay for Kery Pub, BMI which suggests this was the work of one group. Ron Kery was producer for both sides. Released circa 1968.

As Westex points out in his comment below, Shades McRay was a San Antonio musician, who had a release on Domar DM-1111 as McRay and the Invictas: “Son-of-a-Gun” (written by Richard Dodd) b/w “Cheryl”.

Amway Discography

Amway was the label of Alpo Music Productions of Sellersburg, Indiana, across the Ohio River and north of Louisville, Kentucky.

I haven’t heard the Torments or the Profiles yet, but the others are all excellent, if primitively recorded.

The Torments came from northern Kentucky. The Classics came from Paintsville, Kentucky – for more on them see the separate post. The recordings were likely made in a backroom of a radio station or very basic studio in Louisville, KY or Jeffersonville, IN, and the tapes were sent to RCA’s custom service for pressing.

This discography may be incomplete – any help with info and scans would be appreciated!

The Octives – “Love” (Bob Burton, Bruno Music BMI) / Laughing At Me” SK4M-6174/5 (second half of 1965)

The Classics – “Trisha” / “I’m Hurtin'” (Garland, Titlow,& Donahue, Playridge Music BMI) (825M-4956, T4KM-4956, first half of 1966)

The Emotions – “Every Man” (John S. Hodge, Playridge, BMI) / “I Just Do It” (825M-4957, T4KM-4957/8, first half of 1966)

The Profiles – “If You Need Me” (Golden & Bateman) / “Please Come Back” (Marion Howard and Mike Howard, Playridge, BMI) 825M-5840, T4KM-5840/1, first half of 1966, Mel-O-Dee Entertainment, Inc.)

The Torments – “Lying to Me” (Buddy Perryman – Tim Feldman, Playridge Music, BMI) / “I Love You More Each Day” (824P-3715, TK4M-3715/6)

If anyone has photos or info on any of these bands please get in contact with me at chas_kit [at] hotmail.com

Sources include www.45rpmrecords.com/KY/Amway.php

Duane Records discography

The Silvertones Duane 45 HurricaneDuane Records discography

any help with this would be appreciated – contact me)

Duane catalog numbers run consecutive with that of the Edmar label, which is why there are so many gaps in this discography. Edmar had many more releases than Duane, and tended to be calypso and steel band music, so I’ve chosen not to include those releases in this discography. It’s possible there are some Duane issues I haven’t included in this discography – if you find one please let me know.

45s:

Duane 1021 – The Silvertones – “Hurricane” (Pereira – deMello, Edmar-Ken BMI) / “Groovy Baby” (produced by Everest DeCosta for Edmar Productions, R4KM-0481, 1964)
Duane 1022 – The Ebbtides – “Star Of Love” / “First Love” (both sides Phillips-DeMello, Maredken Music, BMI 1964)
Duane 1023 – Lee Curtis – “My Love Don’t Go” / “I’d Do Anything For You” (both by Ware, prod. by Ware-Astwood, 1964, RCA custom RK4M 0263/4)

Duane 1042 – The Weads – “Don’t Call My Name” / “Today”
Duane 1043 – The Savages – “No No No” / “She’s Gone”
Duane 1046 – Bishop Kane – “Tenderness of You” (A. McNally) / Any Time That You Are Lonely” (rec. Jan 6, 1966)
Duane 1048 – The Gents – “If You Don’t Come Back” (W. Cabral) / “I’ll Cry”
Duane 1049 – The Savages – “Roses Are Red My Love” / “Quiet Town”
Duane 1054 – The Savages – “The World Ain’t Round, It’s Square” / “You’re On My Mind”

Duane 101 – The Invaders – “Lost Time” (Richardson) / “Bossa Blue” (recorded February 5, 1970, produced by J.P. Salvatori, Maredken Music BMI)

Duane DX 500 – Stone Foxx – “Gypsy Lady” (Leon Elton, Chris Rowe) / “Agamemnon”

LPs:

Duane LP-1047 – The Savages – Live n’ Wild

Duane LP-1101/1102 – The Invaders – Spacing Out

Invaders Duane Records 45 Lost TimeThe Weads, the Savages and the Gents are all the great garage records. See my pages on the Savages and the Weads for more info on those bands.

The Gents included Andy Newmark, Glen Mello (I’m not sure if there’s any relation to Eddy DeMello) and drummer Frank Chiappa, and possibly Winston Cabral. The Gents is one band I’d love to know more about.

Spacing Out was reissued (legitimately?) on the Duane label and also booted on Baadasss Records. Originals etched Duane 1101-A/1101-B, with small “lw” in script and small stylized “sr”

Eddy DeMello owned the Duane Records (named for his son) and Edmar Records labels and operated out of the Music Box record store in Hamilton, Bermuda. Eddy passed away on March 6, 2013 (see Royal Gazette artlcle).

Note: No connection to another “duane” (all lower case letters on the labels) which had country releases by Roy Montague produced in Memphis, TN, and a good garage 45 from a Boise, Idaho band, Wm Penn & the Quakers: “Coming Up My Way” (Gerald D. Tucker) / Care Free (Lanny Gunther); produced by Gerrie Thompson.

Thanks to Steve Kahn for informing me about the Ebbtides release.

The Yardleys

Recently I bought the Yardleys first 45 and found the band was listed as unknown in the liners to Lost Souls vol. 1, from Pine Bluff in Teen Beat Mayhem, and from Alabama in Gear Fab’s Psychedelic States CD series!

Billy Bob Thornton had his own garage band, the McCoveys, in his hometown of Malvern, Arkansas, about 40 miles southwest of Little Rock. He wrote about the Yardleys in his autobiography, The Billy Bob Tapes: A Cave Full of Ghosts:

The big band in my town was called the Yardleys … Steve Walker, Larry Byrd, Bo Jones, Bucky Griggs and Butch Allen. They had a Farfisa organ, bass, guitar, drums and Bo Jones played the trumpet. They played original songs and actually made a couple of 45s that were played regionally, but they may as well have been the fucking Rolling Stones or the Beatles as far as I was concerned.

The Yardleys used to have these street dances and they would rope off the main Dollar Store and Safeway parking lots. It cost fifty cents or a dollar to come inside the rope and dance in front of the band … Most of my days in junior high and high school were spent trying to figure out how you get chicks that looked good, and just standing there watching these bands like the Cadets, LSD and the Illusions, the Senates, the Yardleys and the Beethovens.

The Yardleys were playing a cover of “Cold Sweat” by James Brown. Steve Walker, the guitar player, landed on a nail on the wooden stage during his guitar solo. When he got back up, his pants were ripped and he had this bloody knew but he just kept playing …

In 1966 the Yardleys released their first 45 on the Foundation label, the top side featuring the subdued original by Bucky Griggs and Larry Byrd “Come What May”, backed with Butch Allen’s excellent and upbeat “The Light Won’t Shine”. Both songs published by High Fidelity Oleta, BMI, which also published the Lost Souls on Leopard.

Butch Allen wrote both songs on their second 45 from January, 1967 on their own Yardley label, the very Stones-inspired “Your Love” backed with the gentle “Just Remember”, both songs published by Quinvy, BMI.

Yardleys Poster

Joan H. sent in this poster of the group that was posted to a website about Malvern.
She writes:

Standing on left is Bucky Griggs, on right Larry Byrd, seated on left is Butch Allen and right Steve Walker. Although Billy Bob is correct, Bo Jones did play in the band, it was not for the full time and he was added at some point. Don Hicks was the photographer but he has not been in business in the Malvern area for a very long time. The bench Steve Walker rests against was used in many of the photographs for local brides.

If anyone has a better photo of the poster or other photos of the Yardleys or other groups in that area, please contact me.

Thank you to Joan for forwarding the photo.

 

Rev Records discography

Gil Shelton, Rev A-1003 "I Was Wrong from the Start"

Rev has one of my favorite singles, “Glimmer Sunshine” by Jack Bedient & the Chessmen.

The Tommy Love and Lonnie & the Legends are the only picture sleeves I know of for Rev.

The label’s location is usually noted at 12044 Chandler Blvd, N. Hollywood, CA, but the Tommy Gardner 45 gives an address of 12055 Burbank Boulevard. No relation to the Rev label from Arizona in the late ’50s that had releases by Doug Hardin, Skip & Flip, etc.

I’ve put these in possible order of release – but it’s only a guess.

This discography is probably incomplete – any help with dates, info and scans would be appreciated!

Rev 45-D-100/45-D-101 – “Wish You Were Still Mine” (Don R. McGinnis, Loucan Music BMI) / “Devil in Me” (J. Bryant for Mosic Publ., BMI) both sides arranged by Don McGinnis

Rev A1001 – Tommy Love – “Love Bug Is Buggin’ Me” / “Your Heart Is Like a Swingin’ Gate” (W.V. Thrasher, arranged by Bruce Locke)

Rev A-1003 – Gil Shelton – “I Was Wrong from the Start” (Joe Fiorito, Laucan Music BMI) / “A Penny in the Wishing Well” (with picture sleeve)

Rev 45-1005 / 45-1006 – Lonnie & the Legends – “Penguin Walk” / “Crazy Penguin” (George Grah, Laucan Music BMI, with picture sleeve)

Lonnie & the Legends had at least three 45s on various labels, I cover that band in more depth here.

Tacey Robbins & the Vendells, Rev 45-R-1102 "My L.A."Group Therapy Rev 45-D-166, Seventh Heaven

Rev 45-R-1102 – Tacey Robbins and the Vendells – “My L.A.” / “Ordinary Boy” (both by Billy Storm, “Sound Track Motion Picture ‘Psycho a GoGo'”, arranged by Don McGinnis, Produced by Al Adamson, Laucan Music, BMI

Rev 45-1-66 – The Frontiers Men and Joanie – “Roaring Angels Game” (Major W.V. Thrasher, Laucan Music” / “Anaheim U.S.A.” (Lee Brian, Val-Dare Music BMI)

Rev 45-D-166/45-D-266 – Group Therapy – “Seventh Heaven” (Tom Jones, Bill Doran) / “Cheated Again” (Bob Pecel) (both sides arranged by Bill Doran, March 1966)

Rev 45-D-104-66 / 105-66 – Jack Bedient & the Chessmen – “Glimmer Sunshine” / “Where Did She Go” (October 1966)

Rev 45-N-105 – Nocturnals – “Stag Line” (Don Freeze) / Eugene Hillard (vocalist) and the Nocturnals “I Want To Know”

Rev 45-R-107 – Jay Jay Cameron with King David & the Parables – “Short Dresses” (Jay Jay Cameron – Barry Hansen) / “Miss Missile”

Rev 45-G-112 – Doug McGinnis – “Moon Over Texas” / “Everything But Me”

Rev 45-115-67/116-67 – The Royal Teens – “Chicaney” (Chirico-Whittle, Laucan Pub, BMI) / “Tears in My Eyes” (Monarch #66743, May ’67, Royal Teens became The Paper Fortress)

Rev 45-117-67/118-67 – Nona Nikova – “Dreams Are Not Enough” (Sam Carrino) / “Let The Sun Shine” (Nona Nikova), both pub. by Laucan BMI, arr. by Sam Carrino

Rev 45-117-68/118-68 – Leo & Marv – “Mrs Heartbreaker ” / “House of Lonely Hearts”

Rev 45-119-68/120-68 – Real People – “Sea Of Reality” / “The Man” (both by Parks, Alan, 1968)

Rev 200-69 – Art Wight – “Pickin’ Fights for Christmas” (Art Wight, Laucan Music BMI) / “Three Cigarettes”
Rev 200-69 – Cousin Frank – “Pickin’ Fights for Christmas” (Art Wight, Wight Barn ASCAP) / “Three Cigarettes”
The above two seem to be identical releases except for the artist name and publishing info. Not sure why there were two releases under different names. Country music.

Rev-3028/9 King George and the Timps – “I’m Thru Losin’ You” (Howard Huntsberry, Launcan BMI) / “I Cried” (George Renfro)
Also released on Midtown M-002, “I’m Through Losin’ You” (credit changed to E.B. Robertson) / “I Cried”. Rev issue seems to be rarer.

Rev-3528 King George and Mischief Lads – “Shing-a-Ling Baby part 1” / “Shing a Ling Baby part 2” (both by George Renfro)
“part 2 is particularly insane” – Mr. Robinson

Rev 4003 – Los Chicanos – “Love Is Blue” / “La Bamba”

Rev 500 – Darvy Traylor (arr. LaBerta Ellis) – “Won’t You Come Home Bill Bailey” / “That’s All That Matters To Me” (1974)

Rev-5001 – L.A. County C.O.P.E. – “Sacramento Playhouse” (Cheep Music, ASCAP, 4:00) / “Stand Up You Children”

COPE = Commitee on Political Education? Seems to be some riff on Nixon – anyone have clips of this or a good scan of the b-side?

Rev 7001 – Al Hanner “Beyond the Reef” / “Who’s Sorry Now” (need confirmation of this one – label scans please)

Rev-8107 – Tommy Gardner & His Versatiles – “Why” / “That Kind of Love” (both by Tommy Gardner, Mayon Pub ASCAP)
This label gives Rev Records address as 12055 Burbank Blvd.

Rev 1722 – The Seaweeds “You Swam Away With My Heart” (Vocal)/”You Swam Away With My Heart” (instrumental)
Red label with Rev in plain typeface

Rev-1941 – Danny Ghaffouri “X-Rated Baby” / “The Lady” both sides by Danny Ghaffouri, prod. and arr. by Bruce Graham, green label with Rev logo

Rev 1951 – Tony De Bruno “Io Canto Cosi Perche Sono Italiano” / “Ah! Cie Bella La Barese”

Rev 1952 – Danny Curtis “Windbag” (D. Curtis & Tom Jenkins for Charted Course Music – Dag Music, BMI) b/w Greg Biela “Flyaway” (Tom Jenkins) Produced by Tom Jenkins for Breakaway Productions, Stereo, tan label with Rev logo. 6430 Sunset Blvd. address.

Rev 1960 – Dave Duncan And Hardtimes – “Sweet Country Lovin'” / “My Hearts In Country” (need confirmation of this one)

Rev 1957 – Adrenalin – “Dogtown” (Tim Palmatier) / “By Myself” – rock from 1979, members may have included Tim Palmatier, Kevan Hill and Greg Berryman.

Thanks to Ed Nadorozny for the scan of the Gil Shelton 45, to Max Waller for info and the scans of the Royal Teens and to Mr. Robinson, beccabear, Laurent and the rest of G45 Central for their help. Thank you to Barry Wickham for the scan of the Lonnie & the Legends sleeve and Group Therapy 45.

Sacramento Playhouse, Rev 45

The Two Sides of Gil Shelton, Rev picture sleeve

Afton Records Discography

Afton Records started with three releases in 1959:

Afton 616 – Frank Pizani -“Wanna Dance” / “It’s No Fun”, Pino Music Co., distributed by United Telefilm Records
Afton 616 – Frank Pizani -“The Stars Will Remember” (Pino Music Co.) / “Steady Cha Cha”
Afton 618 – Ted Ostling – “Shivers & Shakes” / “Girls Choice” (Keith Music pub)

I can find a listing of Afton Records as a corporation in the 1963 Illinois Certified List, with an address of 105 S. La Salle St, along with “Ohio M.S. Distribution Company” at the same address, both owned by Milton Salstone of 1700 S. Michigan Ave. In a comment below, Joel Mills points out a notice of M.S. Distributing handling Frank Pizani’s second Afton single.

Seven years later, in 1966, the label returned with a 1700 series. Publishing is usually by Vic Mil Pub or Vic Mil Music. Presumably the Mil refers to Milt Salstone, and the Vic must be Vic Faraci, who produced the Five Bucks and the Gnomes. I haven’t seen any incorporation paperwork for Vic-Mil Publishing – if anyone can dig that up I would appreciate it.

Afton V-1700 – The Strangers – “This Brave New World” (Bob Rubin) / “In the Beginning”, A-side is a top surf instrumental, flip is blander

Afton 1701 – Five Bucks – “No Use in Trying” / “Now You’re Gone” (April 1966), first press omits label # and lists b-side as “Now You’re Mine”, produced by Vic Faraci

Afton 1702 – Gnomes – “The Sky Is Falling” / “Something’s Going Wrong” (both by Carpenter, Sullivan, Vic Mil pub.), great ballad backed by first-rate garage. Produced by Vic Faraci. Anyone know this group?

Afton 1703 – Sound Carnival – “I Wish I Could Tell You” / “Dreams” (both songs by Stock, Siegel, VicMil Music BMI, September, 1967)
band from Morton Grove, Illinois

Afton 1704 – Donnie Sanders & the Don Juans with Scherri St. James – “Make a Happy Home” (D. Sanders, Vicmil Music BMI / “Shing-a-Ling Baby”

I’m not sure if V-1700 is actually this Afton Records, as the credits have nothing in common with the others, but the 1700 numbering suggests it possibly is.

There are other Afton labels not connected to this one.

For more on the Five Bucks see my article on this site.

I could use good scans of the Donnie Sanders 45.

any help with this discography would be appreciated.

The site for '60s garage bands since 2004