(probably incomplete – any help with this would be appreciated)
MBM 8019 – Ann Allen – “What Do You Want of Me” / “I Don’t Want Your Love” (with PS)
MBM 8020 – The Blondells – “Rocking My Blues Away” (Taylor, Starland Music BMI) / Mona Taylor and the Blondells – “No One Will Ever Know” CP-5501/2, Rite pressing from 1961.
MBM-2001 – Jimmy Ferguson with the Flares Band and the Tom Boys (vocalists) – “The Ballad of Tom Sawyer” / “Cupid” (both by Ferguson – Ferguson, Double “M” Pub. Co. BMI) SoN 9521/2
MBM-2002 – The Rouges – “Put You Down” (Kendrick & Gainer) / “Stormy Monday” SoN 29801
The Ann Allen sleeve has “MBM Records, Miami-Los Angeles” on the PS, and a managerial address:
Birmingham Artist Playhouse Agency 5017 Avenue “N”, West Birmingham 8, Alabama
Birmginham’s Reed label usually published through Double “M” Music, but had a handful of later releases in 1961 that instead used Starland Music (and a different logo typeface):
RR 1061 – Larry & the Loafers “Panama City Blues” / “Till the End” RR 1063 – Webb Robbins And The Jackets “Take This Ring” / “Why Was I Blue” RR 1064 – Mason Dixon – “Queen Of My Heartaches” / “Hello Memphis”
Thank you to Tapio Väisänen and Niculò Conrad for their help with this discography.
“The Weed” is the first single cut by Steve Purdy & the Studs, a group from the Homewood and Vestavia Hills suburbs of Birmingham, Alabama. A tribute to tobacco with a sound like “Money”, its title and lyrics like “I need a pack of weeds that costs 15 cents” and “I wish somebody would give me a seed, that would grow me an instant weed, an instant weed would be mighty fine … give me a weed” made it into a cult favorite.
Steve Purdy and Vic Rumore share the lead vocals on “The Weed”, Rumore may have been related to Joe Rumore, a popular DJ on WVOK and owner of Rumore’s Record Rack; and his brother Angelo “Duke” Rumore, Birmingham DJ and impressario.
The flip of “The Weed” is “Hyannis Port Twist” which helps date this single to 1963 or earlier, along with the Southern Plastics code of SO 1292. The label was Vesta Records 200, located was 3106 Roxbury Road in Birmingham.
Besides Purdy and Rumore, the Studs included:
Jimmy Sullivan – lead guitar Brooke Temple – rhythm guitar Norman Hamm – bass Billy McConnell or Steve Davis – drums
For their second 45, they cut two more Purdy originals, “I Cried (The Night You Said Goodbye)” with a sound close to rockabilly and “Johnny’s Steady”, more of a teen side but with an interesting Leslie effect on the brief guitar solo.
Does anyone have a photo of the group?
Purdy wrote all four of the songs, publishing through Vestavia Publishing Co. BMI. As far as I know these were the only two releases on the Birmingham Vesta label. There was another Vesta Records from Syracuse, NY with doo-wop releases by the Rhythm Cadets and the Eldoras.
Southern Plastics in Nashville pressed both singles, “The Weed” has SO 1292/3 while “I Cried” is SO 1398/9, which should help give exact release dates if anyone has compiled those codes.
Rhythm guitarist David Duke of the Jerks wrote to me about the group and sent in the photos seen here:
The Jerks were a Birmingham, Alabama band formed in the mid 60’s. The band members were:
Larry Gardner – drums Mike Ellis – lead guitar & vocals David Duke – rhythm guitar Dennis Wilkey – bass guitar Steve Fletcher – keyboards
The members came from three high schools in the East Birmingham area: Woodlawn – Steve & Larry; Banks – David & Dennis; and Mike from Erwin.
In early 1966 the Jerks recorded a record on the Vaughn-Ltd label at Ed Boutwell’s early recording studio located in a vacated church at 1st Ave North and 35th Street. The main side was “I’m Leavin’ You” with the back side a slower song “Don’t Make Me Sorry” both written by Mike Ellis. “I’m Leavin’ You” was later published in the #5 spot on Psychedelic States – Alabama in the ’60s Vol.1 (Gear Fab) and is still available on CD.
The last addition to the band was Steve Fletcher on keyboards. The band gained popularity playing at Calico Corner, where many top chart artists performed, along with numerous Armories and high school dances throughout central Alabama. The Jerks were also winners of the Phipps Piano Co., VOX Battle of the Bands contest. The Jerks were popularly seen in their black leather outfits influenced by the British groups. The Jerks opened up for The McCoys concert in Birmingham.
The Jerks gained early popularity in the summer of ‘65 as a big part of the Pizitz Department Store Fashion Shows in downtown Birmingham. The Jerks also performed for a publicity party with Beach Party movie stars Debby Walley and John Ashley at the premiere showing of their new movie.
During this time the band was offered to go on tour throughout the US by Warren “Billy” Wilson, promoter and agent, but declined due to the young age of the members. (Our parents had the upper hand on this decision!)
The band broke up in ’67. Dennis and Mike continued on professionally in the music industry with several other successful bands. We believe Steve continued in his family-owned business. Larry after graduating from Jacksonville State University became a successful business owner of a large nationwide window blind manufacturing and sales company based in the Birmingham area.
David joined the Alabama Air Guard for six years, pursued college and after 45 years as a Sr. Acct Sales Mgr in the industrial gases industry retired in 2015.
Over those years I played with several new bands in the 80’s and 90’s doing a 50’s-60’s-70’s music review. I still keep my collection of guitars close by to play those classic old songs of great days.
I asked David some follow-up questions about the group:
Q. How did the band choose The Jerks for a name?
Not absolutely sure, but the song “The Cool Jerk” performed by the Capitals was released about that time along with a dance by that name and I believe that is where we heard it. I’ve been asked many times and that was all I could come up with. But we did find it to be well received and well remembered for many years after, even today.
I’m playing a Fender Jaguar that my father brought home and surprised me with. It was a Daphne Blue and never saw another one like it anywhere. I was very popular just from that. I think if I had kept I might have been able to retire earlier. Around the time I either went or came back from boot camp I sold it. Mike Ellis played the Fender Mustang.
Q. Did the single get local radio play?
We did get local radio play. WSGN was the most and several of the DJ really got close to us and helped us a lot.
Q. Was the east Birmingham scene distinct from other parts of town or did bands play all over?
Most all the bands in the Birmingham area played all over including cities outside of Birmingham. Birmingham being a large city was a hub for popular bands. I was very close with many other groups during this time. I was influenced by some friends in elementary school that had a band and my friend played the drums. I would listen to them around ’62 or ’63 playing many of the Ventures guitar songs. That’s when I really decided that was what I wanted to do and play. In later years that group became the Rockin’ Rebellions which became popular throughout the south.
Some of the guys I played with in early years ended up in the Daze of the Week another popular group with records. I was close and went to high school with one from the Distortions, also I was close friends with the Vikings.
I haven’t talked to any of the other Jerks band members in a while. Larry Gardner I talked to about two years ago.
It took me a few years, then I got the bug from a friend I grew up with that had his band called the Esquires. We started a band together in the early ’90s and played several gigs but had a hard time keeping or finding good members. I always said I wanted to get with him again and see if we could start another band since we were both getting close to retiring. He died of a heart attack two years ago (Terry Mathews – bottom left). I guess that is why I’m really pushing myself to have some fun while I can.
Lord Byron & the Poets did not release any records but did record a session at Ed Boutwell Studios like many other Birmingham area bands. Members were:
Chip Woody – lead singer Ed Balog – lead guitar Eddie Robinson – rhythm guitar Jim Lacefield – bass and vocals Danny Saxon – drums and vocals John Wheatley III – drums
Drummer John Wheatley sent photos of the band and answered my questions about the band:
We had a great band and were well received wherever we played gigs. Our band was very unique in that we had two drummers. Our singer, Chip Woody, looked a lot like Mick Jagger and was very talented at singing Rolling Stones songs, so we did plenty of them along with the usual list of current favorite rock songs.
Several of the band members were very creative and wrote quite a few songs during my time with them in the 65/66 school year.
I have a few pictures from a “freebie” we did at Canterbury Methodist Church in Mountain Brook, AL for a benefit event. My family were members at the church for many, many years.
The one other picture I have is a promotional picture made at Phipps Piano Company in Birmingham that is connected with our band’s purchase of a large amount of Vox sound equipment to amplify all of the guitars and all of the singers.
We had a really nice Vox PA system with two “sound columns” and amplifier. The lead guitar player (Ed Balog) played a Gretsch Country Gentleman gold plated guitar through a Vox Royal Guardsman amplifier accompanied by a Vox reverb unit, that actually recorded the initial sound on an audio tape and then replayed it in diminishing volume levels as the tape passed through a successive series of tape heads that progressively erased more and more of the original sound as the tape completed it’s circuit while continuously recording and playing each new audio sound on the same tape … absolutely amazing to watch it operate with the cover off of the tape component area.
The bass player also had a brand new deluxe model of a bass amplifier that had its own hand truck type of chrome rack on wheels and sounded amazing for sure. I’m not sure what amplifier Eddie used, but he probably plugged into Ed’s equipment sometimes and I think he had a classic Fender amp that he used some of the time.
We were “recruited” at one point during that tenure by a man representing himself to be a talent scout from RCA in Nashville and he had us to meet him on a weekend at the new Mountain Brook High School where we set up in a sunken carpeted area and he used an reel to reel tape recorder to tape all of the original songs that our group had to offer at that time. He kept in touch with the Balogs for some while, promising this and that. That’s about all that ever came of it, except that one of our songs came out as a hit record titled “Hey Little Girl” with only very minor changes to our original version and it did quite well on the charts and got loads of airplay. The band members that wrote the song felt ripped off but there was little they could do about it.
At another point, we did a recording session at Boutwell Studios in Birmingham and recorded several songs, including one entitled “Mister You’re A Better Man Than I” performed by Danny Saxon for our group. During my efforts to re-connect with our original band members recently, I learned that the bass player, Jim Lacefield, still had the original reel to reel tapes from that Boutwell recording session, but had never done anything with them since 1966. One thing led to another and he was kind enough to ship them to me and I am in the process of getting them transferred so that all of our band members can enjoy and share them as they see fit when the project is finished. It will be interesting to hear the music on the tapes and re-experience those magical moments from 50 years ago surrounded by our current families.
We never actually made any records during my tenure with the band and the group essentially dissolved at the end of the school year as all members were heading off to college, etc … similar to the Ramblers and many other groups of that era.
Our lead guitar player, Ed Balog, was only 14 at the time while most of the rest of us were seniors in high school, but Ed was an extremely talented musician who had been playing the guitar daily since age 8 and was a child prodigy for sure. We practiced every day at the Balog house. When I tried to re-connect in recent years I was saddened to learn he had passed away after a legendary career as a musician in the greater Birmingham area.
I finally located the other drummer / singer, Danny Saxon, who lives out west in a beautiful part of the Great Rocky Mountains and is very happy doing wood work along with pursuing his current hobby of singing and playing music on a frequent basis.
Jim Lacefield was our excellent bass player / singer and I reached him in recent times to learn that he had continued his musical endeavors, shifting over to a really interesting and successful string of performances for many years singing and playing acoustic guitar in a variety of venues throughout the southeast. Jim lives near Tuscumbia now.
Eddie Robinson, Johnny Robinson’s younger brother, played rhythm guitar with our group and I understand that he is alive and well in the Birmingham area these days, but I haven’t actually spoken with him since 1966.
Chip Woody (lead singer) and Danny Saxon (drummer / vocals) both went to the University of Montevallo and seem to still be active in music now, although Danny lives out west in the Rocky Mountains and has switched from drums to guitar a long time ago. Chip Woody was last known to be living in Palm Springs, California about 15 years ago.
Jim Lacefield was very active in music for several years after Lord Byron and the Poets, often working with well known music acts and also doing his own one man shows in small clubs in the southeast. He later got heavy into geology and became a leading professor on the subject and has written several highly acclaimed books on geology in Alabama. He and his wife now own and operate a “preserve” park near Tuscumbia where they conduct tours and he does public speaking on such matters all over the state.
I have continued to be pretty active as a drummer in a variety of bands in the greater Montgomery area since moving here in 1972 and really enjoy pursuing those opportunities now during retirement from my “day job”.
It would be really great to reunite the band, but would be very difficult due to the geographical locations of the surviving members after nearly 50 years of being apart but I would love to see it happen.
John Wheatley, 2015
Jim Lacefield added:
I remembered that gig we played one cold Friday night in January or February of 1966 at the National Guard armory in Decatur. Our gig was cut short by a snowstorm that night, and we had to make the harrowing drive back to Birmingham in the snow. What an adventure!
After the band dis-banded in the summer of 1966 I went on to school at the University that fall. During the time I played bass with the Poets I had started getting interested in playing 12-string guitar and folk rock style music. I was just picking up the 12-string while in the Poets (you might remember I had a blue-green Vox 12-string that Ed used on some songs we played like “Gloria” and “Time Won’t Let Me”). I never got great on the 12-string, but was quite passable, and I enjoyed playing in some small bands at the University. Down there at the time everyone wanted to play “soul music” because that’s where the money was, playing for fraternity and sorority parties. I didn’t care that much for that type music played for drunks, so I shifted over to playing regular 6-string acoustic folk music with a harmonica in a holder (like Dylan and Donovan). During the summer of 1967 I went down to New Orleans and had a chance meeting with some other musicians, poets, and artists who I got in close with. I played some little coffee house style clubs down in the French Quarter that summer and liked the town a lot. New Orleans became my home during the part of the year I wasn’t in Tuscaloosa going to school.
Back in Tuscaloosa I played a little coffee house on campus called the “Down Under” several times, and met my future wife Faye there one night at a folk/blues gig I was playing with a friend. I also played a gig with the great blues man Johnny Shines right as he was making a career comeback playing before young, white audiences.
There was a 60 second or so film of me playing at an anti-war rally in front of a huge crowd at Denny Chimes on the University campus that had originally aired on national TV in October, 1969 on the old Huntley-Brinkley NBC Nightly News program. They were doing a feature on the NBC evening news on how opposition to the war was affecting college campuses, even in the South. The film was taken on October 15th, 1969 and in front of the crowd of students surrounded by FBI agents and policemen. I mention this because a tape of that anti-war mini-concert at Denny Chimes appears on Alabama Public Television whenever they have a show about the 1960s in Alabama.
I got married in the summer of 1970 and did two years of civilian service as a conscientious objector in the waning days of the Viet Nam war. I went on to be a science teacher, and later a college biology and earth science teacher, but never played music professionally after college.
I have had almost no contact with any other member of the Poets since 1966. I did run into Ed at a Jimi Hendrix concert at the University in 1969, but got to talk with him just briefly. I saw Danny Saxon once during the mid-1980s and did get to talk to him for a few minutes. I still have some reel-to-reel tapes of our Poets recording sessions, but have never had the right type machine to play them. I remember we did “Route 66” in Stones fashion and “Mister You’re a Better Man Than I” by the Yardbirds (which Danny sang the lead on) during the session.
Faye and I have lived for the past 30 years out in the country near Tuscumbia where we have gathered together some 500 acres of land through the years. We have established a nature preserve that consists of some nice canyon land, waterfalls, boulder fields, etc. that we have open to the public for hiking and recreation. I have no trouble staying busy, even though I have been retired from teaching for several years. Several years ago I wrote a book on the geologic history of Alabama called “Lost Worlds in Alabama Rocks; A Guide to the State’s Ancient Life and Landscapes.” The book has done well, and is in its 5th printing. It has been used in geology classes at nine universities, but is getting a little out-of-date. Right now I’m working on the second edition of the book, which I hope will be to print some time in the next year.
One of many groups called the Illusions, this group cut only one 45 featuring the great “Shadows of You” by D. Gillon, which was originally the B-side. The A-side is the more pop “Rain, Shine, or Snow” by J. Dougherty.
Members were Jim Posey – lead vocals, Robert Thames – lead guitar and vocals, David Gillon – rhythm guitar and vocals, Joe Dougherty – bass guitar and vocals and Paul Morrow – drums and vocals. The band had an earlier 45 under Jim Posey’s name, a version of “Double Shot (of My Baby’s Love)” b/w “That Boy” on Bahama Records out of Florence, Alabama.
United Recording and Production was incorporated in Birmingham, Alabama on May 20, 1968. The Chantain BMI credit doesn’t show up in BMI’s current database. Although it looks something like a Rite pressing, it is not, with etched deadwax simply “L-193-1/2”. Maybe someone can comment with the likely pressing plant for this record.
Chantain had at least three other releases, a soul 45 by Roy Smith “Don’t Go Away” (R. Smith, B. Walker) / “The Pain Lingers On” (Chantain CH-0014, reissued on Ascot AS 2239), the Regular Size doing a ballad called “Down In Texas” b/w “Richmond”, and a release by Jerry Woodward.
Thank you to Max Waller for information on the band.
Back in 1961, the guitar playing Terrell brothers, Tommy and Eddie along with classmate Chris Covey found a junior high school drummer, Johnny Robinson, to play music. It was decided that the eldest brother, Eddie, would be the bass player, and Tommy would play rhythm guitar. Fellow Ramsey High School classmate, Van Veenschoten joined in to round out the group and play lead guitar. The group named themselves The Ramblers, and began playing for high school functions and fraternities and sororities in the Birmingham area. When Eddie Terrell received a tennis scholarship and headed to The University of Alabama, The Ramblers had no trouble in convincing Chris Convey, with the unusual nickname “The Spook,” to take over on the bass.
By mid-1962, The Ramblers were playing weekends regularly in and around Birmingham and cut their first record, “Stop That Twisting” / “Hundred Miles Away”, at Boutwell Recording Studio in Birmingham. Shortly thereafter, guitar player Van Veenschoten met Chip Sanders, a junior at neighboring Shades Valley High School, who was a piano player. The Ramblers auditioned Chip on a Sunday afternoon at Van’s parents home in Mountain Brook, and the nucleus of the group, that would become synonymous with “party band” was established.
An important early performance by The Ramblers at a state-wide Alabama high school Key Club Convention gave the group name recognition throughout the state, and soon The Ramblers of Birmingham were playing in Alabama cities and towns from Huntsville to Mobile. Practicing in a store room in the back of Johnny Robinson’s garage in Mountain Brook, Alabama, or in the basement of the Sanders’ home in Vestavia, The Ramblers were truly the proverbial garage band.
By fall of 1963, it was time for more of The Ramblers to make a decision, music or college! They decided on both, and as Tommy and Spook headed off to the University of Alabama and Johnny and Chip still in high school, the group began playing college fraternity parties at the University of Alabama.
By 1965-1966, The Ramblers were working regularly, primarily at Fraternity Parties around the southeast. Eddie, Tommy, Spook, and Chip had all become members of Pi Kappa Alpha fraternity at The University of Alabama, while Van was at Samford University and Johnny at the University of Montevallo. No longer rehearsing on a regular basis, the guys would meet up whenever and wherever the group might be playing.
In 1967, the group recorded another record at Boutwell Recording Studio, “Come Back, Come Back” / “Whole Lot Of Woman” written by keyboardist, Chip Sanders. The record experienced moderate success in the Alabama area, but college priorities prevented the group from properly promoting the record. Ed Boutwell, Birmingham recording pioneer, continued to use The Ramblers as back up musicians on many recording sessions at his studio.
Throughout this period, local radio station “sock hops” gained popularity amongst the Birmingham teenage population, and The Ramblers worked with local personality Duke Rumore of WYDE radio at Duke’s sock hop at the Ensley National Guard Armory, as well as Dave Roddy, from WSGN Radio at the Aporto Armory, across town. Also during this period the Ramblers were the backup band of choice for singers passing through Birmingham like Bobby Goldsboro or Billy Joe Royal.
As a “special added attraction” The Ramblers added a new set, featuring “Little John,” Chip’s kid brother, 11-year-old John Lee Sanders, who sang and played harmonica. John Lee Sanders, is now a successful song writer, performer and composer in the Bay Area of California. For the last 20 years he has worked with Long John Baldry, Starship, Paul Williams, Linda Arnold, and other popular entertainers.
As 1966-1967 came along, the world was quickly changing and The Rambler’s music began to change as well. Inspired by the psychedelic sounds coming out of the west coast, The Ramblers found a new sound with a young female vocalist, Vicki Hallman. Covers of the Jefferson Airplane, Linda Ronstadt and other female artists were added to their repertoire. After a brief marriage to drummer Johnny Robinson, Vicki continued her career in Nashville as a member of Buck Owens and the Buckaroos group and as a permanent cast member of the long running TV series, Hee-Haw.
With the Viet Nam War continuing to escalate in the late sixties, members of the group began to worry about the draft. This was definitely not the time to quit school and loose a student deferment to become a rock ‘n roll star. At various times during the next few years, Tommy joined George Bush in the Alabama Air National Guard, Chris joined the Coast Guard Reserve, Chip got in the Army National Guard three days before his draft notice, and Johnny became a reluctant member of the Talladega National Guard.
During their respective intermittent absences the group stayed together, with Terrell brother, Eddie, rejoining the group, along with a variety of substitute and fill-in players. As the sixties came to a close, one by one, the group began to graduate from college, get married and begin careers other than music. All the members of the group initially took jobs in Birmingham so that the band was able to stay together, but soon, the pressures of new careers, new wives, and even children began to put a strain on the group. “I don’t remember us ever officially deciding to break up. I just recall playing in a little town somewhere in South Alabama. We all brought our wives. It was a fun weekend. I remember staying in some ‘Bates Motel’ place and we all went swimming in their pool. That’s the last band job I can recall, but there may have been others,” said Sanders.
Johnny Robinson, who had tried to hold things together began touring with a new group, The Homestead Act, and subsequently moved to California to help his new wife start a music career. Chris moved away to seek his fortune, Chip moved near Memphis to start an insurance agency, and Tommy became a bank examiner for the Treasury Department.
The Ramblers were history, or so they thought. They stayed in touch with one another and by 1978 all of the remaining members of the group were thinking the same thing. They wanted to play again.
In 1979, the band regrouped as The Rambler Reunion Band adding Jim Burford on lead guitar to replace Van who died in a motorcycle accident in 1972. Chip moved out of state and was replaced by John Livingston on keyboards. Eddie rejoined the band to replace Chris who resides in Treasure Island, Florida. During the 80’s and 90’s the band continued working around the southeast entertaining at events with their 60’s music. Currently the RRB entertains at wedding receptions, reunion parties, company parties, club dances, and most any event that requires authentic 60’s rock and roll music.
Chip Sanders, 2011
Johnny Robinson answered some follow-up questions I had about the photos and recording sessions.
The picture of the four of us [top of page] was taken at Highland County Club in December 1961. Van played lead guitar, Tommy rhythm guitar, Eddie bass. At this time we had very few vocals. That one mike and the small guitar amp (lower right corner) was our PA system. We bought the vests at Pizitz downtown.
The two professional photos were taken by Ken Ives at his studio in English Village down the street from Boutwell Recording Studio, where we recorded “100 Miles Away”. Chris Convey replaced Eddie on bass when Eddie left for college on a tennis scholarship. We have tons of other pictures through the years.
B.Temple is Brook Temple. He went to Shades Valley High School. We met him through Lee Shook, a mutual friend. Brook wrote “100 Miles away” with words about a girl he dated in Montgomery (100 miles from Birmingham) and asked us to record it. His mother paid for the recording session and the cost of the records. We did not like the words to the song, so we made it an instrumemtal. He also wrote “Stop That Twisting”. The Brook record label is his name. After all his mother paid for everything.
The second record, “Come Back, Come Back” was made in April 1967. The total for the packing slip was $123.10 for 510 records. That made them 24 cents each. The studio time was $300 as I remember. That made the total cost 83 cents each. Of course we did not made the records to make money, we gave most of them away to try and book more jobs. We have other studio recordings and live recordings.
The music scene in Birmingham was very active at this time – 1961 to 1968. The Distortions, Sammy Salvo, Willum Fowler, The Tremolos, Larry Parker, The Nomads, The Strangers, The Reflections, The Brood, and The Gents are just some of the local bands that recorded and released records on labels like Jo-Jo, Vibrato, Vesta, Lemon, Gold Master, Modern Enterprises, Malone, Vaughn-LTD, Malcolm Z. Dirge. There were many more. The ones I listed are part of my 45 collection. Others we were friends with: The Bassmen, Larry and the Loafers, The Kingsmen (not the famous ones), Daze of the Week, and Circus.
The Knights Band were Ray Edwards (vocals), Dudley Parker (keyboards), Carson Hood (bass), Bill Ashton (sax), Bick Mitchell (drums) and Dave Keller (lead guitar).Vocalist and DJ Ray Edwards sent in the early photo of David Keller’s first band, the Knights and gives some background, below.
The Preachers was David’s third band. In Shades Valley High School in Birmingham in the early 60’s, David played lead guitar for The Knights. I was the singer (little guy on the end) and “booking manager.” Other members were Bill Ashton (sax), Carson Hood (bass), Dudley Parker (keyboards), and Bic Mitchell (drums).
I graduated in 1963 and after a year at UAB in Birmingham headed to Tuscaloosa and a job 5 nights a week as a DJ at WJRD in Tuscaloosa. I was “invited” to drop out of the group. David took over lead vocals and sort of manager. They changed their name to The Original Knights and put out a 45 record to promote the band.
In the late 60’s I ran into David. He had just bought the convertible and told he he was making great money promoting bands. He said he had paid 21 $100 bills for the car. This was in Panama City where he had the club. The next thing I heard was that he was about to be drafted and had headed for Canada.
I have caught up with Bill Ashton, he is in sales and gets to Alabama from time to time. I met Dudley Parker at a wedding I was Djing for. (DJ company is Alabama Entertainment – alaentertainment.com) I talked with Bic who was filling in with a band playing at The Club. Carson died some time after we were in the band.
I have often wondered what happened to David. He was always “Crazy David” even when we had Saturday Morning band practice in his parents garage on Dolly Ridge Road in what became Vestavia Hills.
When Edwards and Parker left, the band became a quartet, now calling themselves the Original Knights. This group released one 45 on their own Knight Enterprise Records recorded at Boutwell Recording Studios in Birmingham. David Keller wrote both songs, “Going Fishing” and “Please Don’t Go”, which has vocals credited to Keller and Carson Hood.According to the sleeve, Keller attended University of Alabama in Birmingham while Hood and Mitchell were students at Walker Jr. College (now Bevill State I believe) in Sumiton, 25 miles to the northwest. Bill Ashton is listed as attending the more distant Auburn University.
For further info on David Keller, check out the page on the Preachers.
Thanks to Ray Edwards for the photo and info about the Knights Band, and also to Jeff Lemlich for the scans and transfers of the 45 as the Original “Knights”.
The Movement recorded two 45s at Hemphill Recording Studios in Midfield, Alabama, just southwest of Birmingham. The two singles were released within two months of each other, in July and August, 1968.
The first 45, “Green Knight” is a solid garage number with a good organ sound and rhythm section. The vocalist’s sputtering, garbled delivery as he says “I can’t keep from crying in the green night” is classic. There’s a fine harmonica break and a buzzing guitar solo takes the song to the fade-out.
It’s a shame that every copy of the 45 has a serious tape glitch (or mastering error) about 30 seconds into the song. The sound warbles just for a split-second, but it’s very noticeable.
The flip, “Stinking Peanut Butter Love” is one of the better nonsense b-sides I’ve heard, a parody of hippie Love-In chants with mantras like “tallyanna meat loaf”, repetitive piano, random drumming and a flushing toilet. It has it’s own minor mastering problem, a sudden rise in volume at the start of the song.
Both sides written by the Movement. There are no names on this Tinker Records label, but their second 45, released on Hemphill Studio’s own label gives Buck Williams as the writer of both sides. I don’t know who else was in the band.
“Just-a-Driftin'” has an echoing lead vocal over acoustic guitar, piano and organ, with whistling instead of harmonica. This doesn’t sound like a promising formula, but the results are good and lightly psychedelic. I haven’t heard the flip, “Dear Abby” but I’ve been told it’s a ballad.
Neal Hemphill owned Hemphill Studios, also known as the Sound of Birmingham, operating from 1966-1985. Hemphill released a couple 45s by the Mishaps, “Under My Thumb” / “One Too Many Mornings” and “Come On Up”, produced by Frank Lewis. A two-volume set, The Birmingham Sound: The Soul of Neal Hemphill compiles the soul and funk sounds of the studio.
Thank you to Rich Strauss for the scan of “Just-a-Driftin'”.