Category Archives: Birmingham

Categories: Alabama, Birmingham, R & H Records

The Ramrods

October 8, 2010 Chris Bishop 26 Comments

Ramrods band, Birmingham, Alabama

Jon Adair of the Ramrods and Mike from the Alabama Record Collectors Association wrote this history of the band, reprinted with permission. If anyone has a good scan of the Queen 45 or transfers of missing songs, please contact us.

The year was 1959. Five guys from Woodlawn High School in Birmingham, Joe Lackey (lead guitar and vocals) Butch Fadely (piano), Jim McCulla (drums) and Larry Wooten (rhythm guitar) had gotten together and decided to form a band of their own. Jon Adair, who was a friend of Joe’s, had already been in two bands, ‘The Teen Beats’ and the ‘The Ray Royster Combo.’ None of the other guys had ever played in bands. Of course, all of them were in their mid-teens, 13 to 15 years old.

Joe asked Jon to come and sit in with them at a practice, which he did, playing rhythm guitar. Later, Joe and the other guys went to Jon’s house and asked him to join the band. When Jon joined, the rhythm guitar player, Wooten, was sick and couldn’t make the first gig, so Jon played rhythm alone. When Wooten returned, both he and Jon played rhythm, which the band really didn’t need two of, but the band had no bass player, which it did need, so they asked Jon to play the bass. He knew nothing about the bass and told them he definitely could not afford to buy another guitar, but wanting to be in the band, Jon compromised. He removed the two high strings from his 6-string electric and tuned the remaining four strings down one octave. It worked well enough to get by. In fact, this is what was used later on their first record, “Fire Tower.” This is how they played until Wooten left the band and Jon moved permanently to rhythm. It was also about this time that Butch Fadely left the band to join the Army.

The band took the name, the Ramrods, from the Duane Eddy tune and even adopted that song as their opening number on every show.

There were not many local bands around at this time. The Roulettes, the Premiers, The Epics and now the Ramrods were just a very few. That, of course, would soon change, especially after the Beatles hit America in 1964. Bands began to pop up everywhere, but, for now, the Ramrods and these other few had a corner on the market.

Many member changes would soon take place in the Ramrods, including adding Paul Newman on vocals. The Ramrods also decided to add a saxophone player, so Ronnie Eades joined the band. Ronnie would later move to Muscle Shoals and become a prominent member of the Muscle Shoals Sound as a session musician.

In 1961, a friend of a friend of a friend, met the Ramrods and wanted to record them. He, Wayne Bright, owned a recording studio in Muscle Shoals, “Bright Records.” The band agreed and laid down two tracks, “Fire Tower,” written by Paul Newman and “Sittin’ Alone,” written by Jon Adair. When the record was pressed, it had mistakenly listed the band as ‘Paul Newman and the Ramrod Combo’ instead of ‘The Ramrods.’

They soon followed with their second record, “Slee-zee,” b/w “Slouch-ee,” both written by Joe Lackey. These were recorded at Homer Milan’s studio at 1st Avenue and 20th Street in Birmingham in 1962. It was released on Queen Records, which was a subsidiary of King Records.

Member changes continued with the addition of Fred Guarino on drums, Johnny Mulkey on lead guitar, Frank Bethea on bass, Bubba Lathem on piano, Durwood Bright on sax and Dwight Anderson on sax. Bright would later play with the Townsmen and Anderson with the Tikis.

In 1963, the Ramrods went into Baldwin Recording Studio in Woodlawn, which they did quite often after shows to record various tunes. On this trip, they recorded two original songs, written by John Mulkey, “Night Ride” and “Moonlight Surf,” both surf sounding instrumentals. They took the tracks to Rick Hall, who ran Fame Recording Studio in Muscle Shoals. He liked them and agreed to press the songs. The band had thought that their songs would be on the Fame label, which, although still a local label, was fairly well known. However, Rick was starting a new label, R and H, and released the Ramrods on it. Theirs was the first record on this label, the label number being RH-1001. This was an obvious disappointment to the band not to have been on Fame, but Hall had done a good job of mixing and producing the record and the band was happy with the result.

“Night Ride” started as a ‘Pick Hit’ on WSGN in Birmingham in 1963, but soon made it to WSGN’s Top 40 where it remained for thirteen weeks, reaching as high as #5.

During the band’s tenure, they toured all over the southeast, playing the college circuit and other venues and either opened for or backed up major national artists. A short list includes Del Shannon, the Four Seasons, Arthur Alexander, Tommy Roe, Chris Montez, Roy Orbison and Charlie Rich, but there were many, many more.

Also during this time, they had played shows with another Alabama band, the Webs, from Dothan. One member of the Webs was a guy named Bobby Goldsboro. By 1963, the Webs were traveling with Roy Orbison as his backing band, which had been arranged by another Dothan guy, Buddy Buie. Of course, Buddy was becoming a well-known songwriter and record producer. He had also become Orbison’s tour manager as a bonus for getting the Webs with Roy.

Jon Adair remembers fondly one concert both groups played together at the Cloud Room (Cascade Plunge) in Birmingham. After the show was over and the band was putting their instruments in the car, Bobby took out his acoustic guitar, sat on the hood of a car and told the guys that he was working on a song which he hoped to record as a solo.

He played “See the Funny Little Clown,” written by Bobby. A short time later, it became Bobby’s break-out solo hit and reached #9 on Billboard in early 1964. Bobby was now a solo artist with many hits to follow.

By the time 1964 rolled around, the Ramrods had been together for almost five years. Only Jon Adair and Joe Lackey remained as the nucleus of the original band from 1959. Jon had joined the Navy on a deferred enlistment program as a senor in high school and when he graduated in 1963 had to go straight to boot camp. However, when he completed it, he returned home where he rejoined the band. In April of 1964, the Navy called him to active duty. It was only a few months later that the Ramrods decided to disband.

What had actually happened was that the Webs, minus Bobby Goldsboro, were now touring with Roy Orbison as his backing band. Roy renamed them the Candymen, after his song title, “Candy Man.” The Candymen would later form the nucleus of the Classics IV and then the Atlanta Rhythm Section. In late 1964, Buddy Buie, who was Roy’s tour manager, was itching to form a new band, one to help showcase his songs. He took three members of the Ramrods (Guarino, Mulkey and Latham) and members of the Webs, including Wilbur Walton and Jimmy Dean and formed the James Gang. They made several records, mostly written by Buddy, but their biggest song was “Georgia Pines,” co-written by Buie. This song was also recorded by the Candymen. Their version peaked at #81 on Billboard, but the James Gang version received more regional airplay.

As for the remaining members of the Ramrods, after finishing his stint in the Navy, Jon went into the business world, as did Joe Lackey and Frank Bethea. Other members, as already mentioned, played in various local bands for a while.

Sadly, we have lost a few of these guys over the years, Joe Lackey, Harry Looney and Fred Guarino. Who knows, maybe one day there will be a reunion of the remaining members.

The Ramrods can really be considered one of the pioneer bands in the Birmingham area, one who inspired many other young musicians who also began to form bands and become prominent artists in their own right.

Categories: Alabama, ARA, Birmingham, Ed Boutwell Studios, Holly

The Torquays

January 5, 2010 Chris Bishop 5 Comments

The Birmingham, Alabama based Torquays were formed in 1963 by two friends, Dale Aston and Wendell Colbert. Influenced by early rock and roll, Dale taught himself to play the guitar. Wendell also played guitar. They took the band’s name Torquays after a town in England and a song by The Ventures of that name. The initial band had several members, but eventually dwindled down to five, Dale on guitar and lead vocals, Wendell on bass, Barry Bicknell on trumpet, Eugene Hayes on drums and Steve Salord on sax.

The Torquays made two records. The first, “While I’m Away” was written by Aston backed by a great doo wop sounding “Pineapple Moon”. These were recorded in Muscle Shoals at Fame Studios and released on the Holly label. Both sides got significant air play in the Birmingham area. The second record, “You’re The One Who Loves Me” (also written by Aston) was recorded in Memphis. They played steadily all throughout the southeast, but disbanded in 1968. Dale and Steve went on to play with the Distortions, another popular Birmingham band.

The introduction above is from the Alabama Record Collectors Association, who suggested I cover the Torquays and put me in touch with guitarist, lead vocalist and songwriter Dale Aston. It’s notable that the Ara 45 was produced by Roland Janes, probably recorded at his Sonic Sound studio where he also produced sides by Travis Wammack. Dale kindly answered my questions about the band:

Dale Aston and Wendell Colbert were 14 years old and their fathers worked at US Steel together in Birmingham. Both were starting to take guitar lessons and began practicing together. After a while they added a drummer (Eddie Rice) and bass player (Gary Quattlebaum). From there the band grew to a six piece dance group playing Motown and other R&B Top Forty hits of the day.
We played the Sock Hop circuit around Alabama which included National Guard Armories and Rec Centers in Birmingham, Sylacauga, Childersburg, Guntersville, Lanett, Huntsville, Montgomery and Columbus, GA. We played the Boutwell Auditorium in Birmingham, many fraternity and soroities at University of Alabama, Auburn, University of Georgia as well as private parties for large companies and organizations. Around Alabama we were a back up band for acts like Billie Joe Royal; Chuck Berry; Bobby Goldsboro; Freddie Cannon and Travis Wammack.
We were best friends with the Distortions and competed with all of Birminghams’ many local area bands like the Rockin Rebellions, The Counts, The Premiers and others.
Dale Aston wrote and produced the original material (“While I’m Away”; “The One Who Loves Me”) and the songs were recorded at Fame Studios in Muscle Shoals, Alabama and at studios in Memphis, TN. We also used Boutwell Studios in Birmingham.
We were introduced to Roland Janes by Travis Wammack. We had been backing Travis a number of times and we became friends. He had a tune or two he had written and wanted us to record so he invited us to Memphis and provided the studio time because we were recording his songs. This was just after the Boxtops hit #1 with “The Letter” and I think Roland and Travis were searching for new talent. They produced the record “You’re the One Who Loves Me” on ARA but I never knew how much distribution it received.
“While I’m Away” received good airplay in the Birmingham area and reach the #1 requested song on a radio station in Jacksonville, Florida. Our other records received some airplay in Birmingham due to our local fan following. In those days bands did not sell records at their live performances but through local record stores like Rumore Records in Birmingham. I guess we were too busy setting up, playing and loading the equipment for the next gig.
Once The Chartbusters came to Birmingham for a concert at WSGN radio for Dave Roddy. Their lead guitar player had to quit the tour unexpedtedly leaving the band without a guitarist for the remainder of the tour. Dave Roddy set up auditions for a few local guitarists for the job. I was offered the position but had to make a career decision since I had been accepted at the University of Alabama for the Fall semester whether to go on the road with The Chartbusters or go to college. I finally decided to go to college and have never regreted it. However, I often wonder what my life would have been like had I chosen to go on tour!
We became burned out after practicing and working together virtually every weekend for four years. Eugene Hayes (drummer) quit music. Barry Bicknell graduated with a degree in music from University of Alabama and became a high school band director. Steve Salord went to the University of North Texas and earned a Masters degree in music theory. Wendell Colbert continued palying with other bands and still palys today. I graduated from the University of Alabama with a BA in Commerce and Business Administration and went into the National Guard. After active duty I formed a small three piece group (The Brood) to play occasionally. I got married and started a career in Consumer Electronics sales and management.
I am still involved in music as a hobby at home and love to record on my PC. I use Sonar software. Here’s a link to some of my recordings.
Dale Aston

Special thanks to the Alabama Record Collectors Association

Categories: Alabama, Birmingham, Fat City

String and the Beans

April 21, 2008 Chris Bishop 26 Comments

String & the Beans have this one fine record from 1966. The reverb-laden ballad “Come Back To Me” reaches its peak with the guitar solo that takes the song out. On the flip is the upbeat “When I Get That Feeling”.

Both songs were written by Craig Fulford and Robert Robinson (a mistake – it should have been Robert Robertson) according to the label credits.

For some time there was confusion as to whether the band was from Alabama, or Georgia (the base for Lyresong publishing) or even Minnesota, as this 45 was pressed at Minneapolis’ Kaybank studios (indicated by the number 6-6130, a type of indexing which was used on other 45s recorded there, notably records released on Kaybank’s Studio City label).

Since writing this post, I heard from the band’s drummer, Louis Gigis. Louis wrote this history of the group:

I was the drummer for String and the Beans aka The Showmen from Birmingham.
In 1962 there were seven members of The Showmen Band. Louis Gigis drummer, Craig Fulford lead guitar, Sam McDavid rhythm guitar, Chuck Butterworth bass, Kent Donovan keyboards, Bill Burns lead vocals and Robby Robertson back up vocals. I went to Woodlawn High School in Birmingham and everybody else went to Shades Valley except Bill Burns, he went to Ramsey. We all had other groups that we were playing in and would go around town to hear other bands play when we weren’t playing. That is how we got to know each other and pieced together the band and called it The Showmen because we each each put on pretty good shows in our other bands.
We were an instant hit among the high schools in Alabama. In 1962 we were making $100 each for a night of playing, that was like $1,000 now. We were so popular that when we played at Sidney Lanier High School in Montgomery, Alabama we couln’t get off the stage withour being mobbed. We must haved played Louie Louie by the Kingsmen twenty times. We also played at high schools, sock hops and the college circuit, where the kids said we looked like a new band from England called The Beatles. Well, we had the same hair cuts before we even knew who the Beatles were.
After a while we had a few changes in the band, Bill Burns left for the Navy and Robby Robertson took over as lead singer and Craig and Sam did harmony. There was a time when we called ourselves The Showmen + 6, we had six singers out front doing shows like James Brown, The Temps and Tops and others but we were really getting the cost up, so we went back to Robby alone.
We all wrote songs and decided on two songs that we liked the most to try and record. Those were “Come Back to Me” and “When I Get That Feeling” on the flip side. We had heard of a recording studio in Atlanta named Master Sound Recording which later was changed to Lowery Studios owned by Bill Lowery (now departed). We could record our music there for $35 per hour with Bill Lowery being the producer. When we got in the studio to record the songs our keyboard man Kent didn’t show, he was sick. Instead of cancelling the session Bill Lowery called a piano player, she was about as old as our grandmothers but she could play a hell of a piano. She didn’t have to rehearse the songs but once. and we recorded the songs in about three takes including some dubbing.
Our name came about when we recorded the record and there was already a band called the Showmen. In the studio that day was Billy Joe Royal and Joe South, they came up with the name because Robby Robertson was really tall and skinny. We came up with the name Fat City Records from when we played in Fat City which the real name is Metarie, outside of New Orleans.
Our record came out at the same time “Double Shot” by the Swinging Medallions came out and outsold them in Alabama by 2 to 1, but we didn’t get picked up by a major label because we had beat up on local DJ Dave Roddy after we didn’t get paid for a gig that we played in that included the Medallions, Chambrays and Markees [Marquees]. That was a mistake, he was a pretty big man on the radio circuit.
Bill Lowery liked our band so much that he wanted to sign us to a contract and give us free studio time. Bill had already made hits of The Tams, Joe South, Billy Joe Royal and a few others. So we went back to Atlanta and recorded some more original stuff. All the songs were sent back to us in Birmingham on reel to reel and had horns, strings and back up singers dubbed in, man what a sound, we were on our way.
One day I was laying out by the pool at some apartments and heard one of our songs on the radio but it wasn’t us playing it. I called Craig and told him about it and he called Lowery. Bill said that he let a new singer named Ronnie Prophet record it since he was under a previous contract. Lowery said he owned our music and could do that.
We didn’t like that too much so we cancelled our contract and signed with Hit Attractions from Charlotte N.C. Most of our jobs were being the back up band for The Tams. We did that for a year and got bored with each other and decided to go our separate ways. We still lliked each other and still do, but we were growing up and had wives and kids; I was 21.
I kept playing for about six more years and played with acts like Steve Alaimo in Tampa, Billy Joe Royal, Steve Purdy, The Premiers.
Louis Gigis

Robbie Robertson added:

I was co author of “Come Back to Me” with Craig Fulford. The misspelled record label was not redone and corrected because typically teenage thinking was to hurry up and get this out! The label name of Fat City was chosen because we were booking through Ted Hall at Hit Attractions out of Charlotte, NC. Charlotte was called the Fat City at the time.
I have the original master tape and have actually thought about recutting the lead vocal to change a few lyrics. I was lead singer of the group and find that an interesting idea.
I sang lead on our later cut, “Talk Don’t Bother Me” which Craig and I also wrote.
Robbie Robertson

Categories: Alabama, Birmingham, Red Eye

The Wild Vybrashons, Birmingham, Alabama

November 21, 2007 Chris Bishop 31 Comments

The Wild Vybrashons, from left: Chuck Terpo, Vern Reeves, Harford Capps, Al Lovoy and Mark Papisan

Revised June, 2010

The original Wild Vybrashons were Charles Terpo, Vernon Reeves, Hartford Capps and Mark Papisan, along with a female singer who was replaced by Al Lovoy, who had been in two prior bands, the Swingin’ Lamp Liters and the Royal Carousels.

They released one 45, with a version of “A Place in the Sun” as the A-side. I much prefer their update of “One Track Mind”, a song that had been recorded previously by Gary Lewis & the Playboys and the Knickerbockers.

The record was arranged by Steve Norris and produced by Glen Powers, two popular DJs on Birmingham radio station WSGN. Not surprisingly, the record hit that station’s charts, with “A Place in the Sun” reaching #1 on April 24, 1969.

After the single the group shuffled members, adding another former member of the Lamp Liters, Gary Swatzell.

Thanks to Diana Lovoy for sending the scan of the photo and business card and to Al Lovoy for correcting the band lineup in his comment below.

Wild Vybrashons business card with Al's name misspelled as Al Lavoy — Business card with Al’s name misspelled as Al Lavoy

Cool ad and article on the Monkees coming to Birmingham City Auditorium, with the 'Wild Vybrasions' opening. — Cool ad and article on the Monkees coming to Birmingham City Auditorium, with the ‘Wild Vybrasions’ opening.
Not surprisingly the band’s name is often spelled differently, like Wyld Vibrations, Wild Vibrashons, Vybrashuns, etc.

Categories: Alabama, Birmingham, Vaughn Ltd

The Swingin’ Lamp Liters

November 19, 2007 Chris Bishop 6 Comments

The Swingin' Lamp Liters photo

One of the finest records on the Vaughn Ltd. label is the Swingin’ Lamp Liters’ “Get Away”. Members at the time of recording were Al Lovoy on vocals, Tommy Calton guitar, Jesse Warth bass and Gary Swatzell on organ. Charles Carbonie was band leader and drummer.

The record was cut in 1967, featuring Tommy Calton’s original “Get Away” backed with a cover of “Little Latin Lupe Lu”.

Other members of the band at one time or another included Frankie Parrish rhythm guitar, Greg Sheffield bass (actually bass lines on a 6-string guitar!), Steve Burkes on organ and three lead vocalists: Jimmy Whitt, George Tobias and Larry McMeekin.

Charles Carbonie formed the Lamp Liters in January of ’64 and continued playing live shows until early 1969.

After cutting the single, Tommy Calton, Al Lovoy and Gary Swatzell left the band to form the Royal Carousel with Jimmy Whitt on bass and Al Pettinato on drums. The Royal Carousel played current sunny pop songs like the Merry Go Round’s “Live”, but only lasted a few months, when Tommy and Gary returned to the Lamp Liters.

Al Lovoy went into the Wild Vybrashons, who cut a good fuzz version of the Knickerbockers’ “One Track Mind”, produced by two WSGN DJs, Steve Norris and Glen Powers.

Tommy Calton formed bands including the Brass Button, Wooden Music and Hotel, and still plays music professionally. The photo and much of the information here is from his (now-replaced) website www.tommycalton.com.

Categories: Alabama, Birmingham, Cougar, Ed Boutwell Studios, Vaughn Ltd

The Bassmen and the Candy Store Prophets

October 2, 2007 Chris Bishop 3 Comments

The Church Keys (Bassmen) playing live in Birmingham 1963

The Bassmen have the very first 45 released on the Vaughn-Ltd label, the excellent original song “I Need You”.

The Bassmen originally formed as the Church Keys in 1962 while in the ninth grade in Birmingham. Original members were Rob Hackney guitar, Chuck Butterworth keyboards, Mike Easter on bass and Tom Allison on drums. Over the next year they added Charlie Feldman as lead singer and Vaughn Rives on rhythm guitar, and Steve Gilmer replaced Butterworth on keyboards.

By 1965 they had changed their name to the Bassmen, and they went into Ed Boutwell’s studio in English Village to record their 45, “I Need You” / “Leigh Anne”. Both are credited to B. Van Santte, perhaps a fictitious name as it doesn’t match any of the band members.

The single garnered the Bassmen appearances at shows produced by local DJs Papa Don Schroeder and Duke Rumore, and the band toured colleges in the area as well.

At the start of college in 1966, singer Charlie Feldman, bassist Mike Easter and drummer Tom Allison found new members Jamie Grant and Tommy Johnson. They renamed the band the Candystore Prophets and released one very fine Beatles-esque 45 on Andy Anderson’s Cougar label of Jackson, Mississippi, “The Time of Day” b/w “You’re a Teaser” (both written by Jamie Grant).

Note, this is not the same Candy Store Prophets led by Boyce and Hart who wrote and recorded the backing tracks for all the early songs of the Monkees.

Source: Info for this story and the photo at top are taken from the Bassmen’s site. Check it to see more photos and updates on the band.

Categories: Alabama, Birmingham, Capitol, Casino, Dover, Ed Boutwell Studios, Malcolm Z. Dirge, Sea, Smash

The Distortions

September 9, 2007 Chris Bishop 54 Comments

From the Ensley Highlands section of Birmingham, Robert Alexander (bass), Ned Bibb (vocals and guitar), and Bobby Marlin (drums) started playing in high school in 1962, rehearsing in Robert Alexander’s basement.

In 1965-66 they backed Travis Wammack, then took the name The Distortions from his record “Distortion pt. 1”. They added Zack Zackery on keyboards, and recorded their first three 45s on Sea Records. These included an interesting Ned Bibb original, “Can You Tell”, which was backed by a slow, loopy take on “Hound Dog”; and a raging version of Howlin’ Wolf’s “Smokestack Lightning”.

The band added Eddie Rice on guitar in 1966 and switched to the Malcolm Z. Dirge label for their next release, “Thank You John”, which reached the charts on WSGN in town. On the flip they recorded a fine version of the Rascals’ oft-covered “I Ain’t Gonna Eat Out My Heart Anymore”.

When their next 45, “Behind My Wall” was picked up for national distribution by Smash, they had their biggest hit, selling 10-15,000 copies according to their producer Ed Boutwell. Their penultimate 45 was a good Bill Haney original, “I Found a Girl”, with a version of “I Don’t Really Like You”, originally done by Baton-Rouge’s Canebreak Singers on Montel and written by Mike Crespo. It was produced by Haney and Richie Becker and released on Casino, a subsidiary of the Dover Records company of New Orleans.

In ’67 the Distortions added Roy Alexander on saxophone.

Distortions, Capitol promo shot, 1968: Roy Alexander, Roy Zachary, Bobby Marlin, Steve Salord, Dale Aston and George Landman — Capitol promo shot, 1968, from left: Roy Alexander, Roy Zachary, Bobby Marlin, Steve Salord, Dale Aston and George Landman

Dale Aston of the Torquays sent in the photo above and writes about his time with the band:

I played guitar with the band. Steve Salord and I had just left The Torquays and joined with The Distortions for a brief period. We recorded “Let’s Spend Some Time Together” at Boutwell Studios in Mountain Brook, AL.
As I recall Ed Boutwell had a hand in getting Capital Records to pick up “Let’s Spend Some Time Together”. The other labels were homegrown and produced by the band for local distribution only.

Their last release was a cleaned-up version of the Stone’s “Let’s Spend the Night Together”, retitled “Let’s Spend Some Time Together”. This was picked up by Capitol but didn’t sell particularly well.

Henry Lavoy took over on drums during the late 1960’s.

The band split up in 1969, but Zack Zachery and Roy Alexander played college and club shows as the Distortions into the ’70s, with Clif Payne on drums and Ed Finn.

Clif Payne sent in the photo of the group from the 1970’s as well as four unreleased songs from 1975 in a polished, commercial sound the band developed later on, something akin to the Average White Band. See Clif’s comment below for more information about that band at this time.

Roy Alexander and Bobby Marlin are now deceased.

45 releases:

Hound Dog / Can You Tell – Sea 100
Take This Ring / You Know I’m On My Way – Sea 101
Smokestack Lightning / Hot Cha – Sea 102
I Ain’t Gonna Eat Out My Heart Anymore / Thank You John – Malcolm Z. Dirge 45000
Smokestack Lightning / Behind My Wall – Malcolm Z. Dirge 45002
A Love That Loves You / Behind My Wall – Smash S-2068
I Don’t Really Like You / I Found A Girl – Casino 501
Let’s Spend Some Time Together / Gimme Some Lovin’ – Malcolm Z. Dirge 45008 and Capitol 2223

Sources: Reunion of the Sons and Daughters of the Sixties program, May 8th, 1987; Birmingham News. April 30, 1987, Birmingham Weekly, vol. 10.

Thank you to Mike Pair for loaning me the Birmingham News article, “Hair” Rally notice and Reunion program.

Categories: Alabama, Birmingham, Ed Boutwell Studios, Lowery, Viking

The Vikings

July 29, 2007 Chris Bishop 21 Comments

The Vikings of Birmingham, Alabama recorded two quite different 45s. The first was produced by Ed Boutwell, at whose studio the Hard Times recorded their 45. Band members were Gary Smith, Phil Whitley, Lee Lowery, Randy Carmichael, Steve Vainrib and Charles Nettles. Vikings Viking 45 Come On and Love Me

“Come On and Love Me” is fantastic, an upbeat song with double-tracked vocals and a nice balance between Phil Whitley’s lead guitar and the strummed rhythm. As exciting a single as any released during the summer of 1966.

“I Will Never Go” is a ballad, and while not exceptional, it builds to a strong ending. Both sides were co-written by Charles Nettles and C. Putnam.

Over a year later they made a second record on the Lowery label, but the change in their sound is enormous. The a-side is another Charles Nettles original, “Cherish the Love You Feel”, with lavish orchestration and an arrangement influenced by English pop from the time. The flip is a cover of Tommy Roe’s “Golden Girl” – chosen probably because the Lowery booking agency was handling both bands.

Randy Carmichael became a studio musician for Neil Hemphill’s Sound of Birmingham studio in the Midfield section of the city, playing for Fredrick Knight and Bobby Womack among others. Phil Whitely went on to play with the Hard Times after their guitarist Ron Parr died in Vietnam.

Wayne Perkins joined as guitarist after the 45s were recorded. He wrote an extensive remembrance of his days in music. Of his time with the Vikings, he says this:

When I hit sixteen, I had enough of school and a string of teachers that didn’t like my long hair. They said I would “never get anywhere playing’ that guitar.” So I said, “Oh yeah? Well you just watch me!” At that point, I left school, left home and moved in with a fellow band member of the Vikings named Charles Nettles and his Mom. I sort of “kept house” to pay rent, ya know, cut the yard and that sort of thing.
In this time period Charlie was learning to, and teaching me how to write songs. He said his Mom was on a diet and was taking these little pills called “obadrine” or something, and if he took one it made him concentrate better and the songs turned out better. And I’ll be damned if he wasn’t right. It also made me sing and play better…at least I thought I could. So I stayed with Charlie and his Mom, Dot (short for Dorothy) for about a year and a half until one of Charlie’s girlfriends took an interest in me and I just couldn’t help myself…
The last time I played with Charlie and the Vikings was in the Fall of ‘68 and when the gig was over, we came off stage only to run headlong into Stephanie Brown, Charlie’s future ex-girlfriend. She looked at Charlie and then looked at me. I looked at Charlie and said, “I can’t do this anymore.” Then I looked at Stephanie and said, “What’s it gonna be? You going with him or coming with me?”
She said, “I’m coming with you Baby.” As we walked off, Charlie looked at me and said, “You’ll never do anything without me in the business!” I said, “Oh yeah? Just watch me!” So we walked around the side of the stage and ran right into a drummer friend of mine by the name of Jasper Guarino, and he said, “Man, you are playing your ass off, I saw what just went down with Charlie…what the hell you gonna do?! I said, “Man, I don’t know.” And he said, “Well, if you’re interested, there’s an opening for a guitar player in a studio called “Quinvy’s” in Muscle Shoals. He said, “That’s where I’m working. The hours are easy, it’s from 10 a.m. to four or five depending on what’s going on and it pays $100.00 a week.” I said, “When are you going back?” He said, “Tonight, you got anything better to do?” I said, “Hell no. That’s the best idea I heard in a long time.” So I said to Stephanie, “I’ll see you later, I’m going to Muscle Shoals.” So Jasper and I swung by Charlie’s house, dumped all of my shit into a garbage bag, and got the hell out of Birmingham.

To see if he proved Charlie wrong, read more here.

Thanks to David Hill for the photos, and Mike Pair for his help on this story.

Wayne Perkins and Eddie Hinton — Wayne Perkins (left) and Eddie Hinton

Categories: Alabama, Birmingham, Ed Boutwell Studios, Parkway, Ultimate

The Hard Times / The Rites of Spring

July 18, 2007 Chris Bishop 71 Comments

The Hard Times photo, l-r.: Daily Vandergrif drums, Mike Melton bass, Ronnie Melton keyboards, Mike Pair guitar, Ron Parr guitar, and Mike Gunnels vocals — The Hard Times, l-r.: Daily Vandergrif drums, Mike Melton bass, Ronnie Melton keyboards, Mike Pair guitar, Ron Parr guitar, and Mike Gunnels vocals

I wrote about the Rites of Spring a few months ago, but now I can bring you the whole story of this Birmingham, Alabama group. As the Hard Times they recorded one 45 on the Ultimate label, “Losing You” backed with the excellent “You Couldn’t Love Me”.

By winning a WVOK battle-of-the-bands, the band attracted the attention of Cameo-Parkway Records, which had just hired Michigan singer Terry Knight as a staff producer after his 45 “I (Who Have Nothing)” on Lucky Eleven (distributed nationally by Cameo-Parkway) had become a sizeable hit. The Hard Times would be his first project for the label, but first they had to change their name to the Rites of Spring to avoid conflict with the San Diego/LA group of the same name who had records out on World Pacific.

The folky “Why (?)” was released in October, 1966, with the much harder edged “Comin’ On Back To Me” on the flip. Both songs were written by Michael Gunnels and Ronald Parr. The band promoted the record on the national TV show, Where the Action Is.

I recently spoke to Mike Pair, guitarist with the Hard Times and the Rites of Spring, and he gave me the full story about the band.

WVOK Talent Search

Q. How did the Hard Times form? Were you friends in school or in other bands?
Mike Pair: I played with Mike Gunnels in another band which lasted about 3 months. He then met the rest of the group who were trying to form a band, and when they needed another guitar, he suggested me. They all went to Woodlawn High School together – except me.
The Hard Times’ “Losing You” was produced and recorded here in Birmingham at Boutwell Studies. Ed Boutwell shot all the civil rights footage from Birmingham with the fire hoses and dogs that you still see on the TV. Steve Norris, a local DJ, produced it. “You Couldn’t Love Me” was a one take song just to fill the other side of the record. “Losing You” got to #1 on the top local charts in Birmingham. We also did a lot of work for the WSGN DJs. WSGN was a great radio station.
We were busy every weekend throughout the south. We booked from Lowery Talent in Atlanta. They also had Tommy Roe, Joe South, Bobby Goldsboro, and the Tams. They picked us up because we won a 300 band “Battle of the Bands” There were so many bands, it lasted 2 days and we won.

The Hard Times at WSGN event, Eastwood Mall, 1967

Q. How did the Hard Times come to the attention of Cameo Parkway?
Mike: The Cameo Parkway record and Where the Action Is came through Lowery Talent. We were still the Hard Times, [but the California group] the Hard Times band was a regular on that show, so that was the reason for the name change to the Rites of Spring. If we had turned down the Action deal, we could have kept the name.
Q. Tell me about recording the Rites of Spring record.
Mike: We recorded both sides in Philly. Chubby Checker was there too.
Q. One website says that Terry Knight took your demo and re-recorded the vocals and some tracks, and improved it. Is that how you see it?
Mike: No, that part is not correct. The cut for the record company was the first one and we had not recorded that song before. Terry was a little weird even in those days. After we would do a cut, he would just sit there and stare into space not saying anything for long periods of time. We would just stand in the studio and wait until he came out of his “zone”. When Chubby Checker came in and sat in on some of the session, things were a little better and he acted more normal.
Q. Did you ever see any money from Cameo for the Rites of Spring 45?
Mike: Not a dime!!! They never pushed the record, and the only reason we can figure out was “96 Tears” came out about the same time and it was more of an instant hit that our record was, so it got all the promo money. We had one more record in our contract, but if I remember correctly, Cameo Parkway went south and out of existence not too long after we recorded, and the second record never got made.
We were on ‘Where the Action Is’ about two weeks before the show ended: #444, March 16th, 1967, and the show ended with #455, March 31, 1967. We were the first Alabama band on national TV.
We went to LA to film and went to a disco (can’t remember the name). It was during the riots on Sunset strip that year. The hotel would not give us a room because with our long hair (long for those days, you wouldn’t look twice now): they thought we were there for the riots. Dick Clark Productions had to call the hotel to tell them who we were and that it was ok to give us a room. Filmed with Neil Diamond, and the Royal Guardsman from Florida who did all those Snoopy and the Red Baron songs.
Q. That’s interesting you filmed with the Royal Guardsmen and Neil Diamond, because the episode you’re on features Keith Allison and Paul Revere and the Raiders – did they use footage from different times for the show?
Mike: Yes, they filmed all over the country and then picked which date they would show what. There might be 5 bands on a show filmed in 5 different places. We actually filmed the show several months before it aired. Keith Allison introduced us as a band from one of his favorite towns, Birmingham, Alabama. The Action crew had actually filmed some in Birmingham, and our keyboard player had a date with one of the Action dancers. That was pretty cool at that time.
[If anyone has a copy of the Rites of Spring on Where the Action Is, please get in touch, as Mike would like to see the performance after all these years.]
Los Angeles’ KRLA Beat magazine, Nov. 5, 1966 Terry Knight producing the Hard Times, mistakenly listed as from Atlanta!
Mike: The band broke up about 9 months after the Action appearance as Uncle Sam was calling most of us. It was great fun for a few years and we did shows with the Animals, Herman’s Hermits, Tommy James, the Byrds and Tommy Roe. Lots of great memories and good times. Mike Melton found some tapes we made at Fame studios with Rick Hall producing (Muscle Shoals, Alabama). I have listened to the tapes and there is some good stuff on them. Its funny that all the songs on there we wrote and they are all “death songs”, which is far from our stage act. All stuff on stage was up beat!!Mike Melton, the bass player, and Ronnie Melton, the keyboard player are still here in Birmingham and I see them often. Ron Parr who co-wrote most of our songs was killed in ‘Nam. Mike Gunnels, our lead singer made a small hit in Nashville on his own, but then fell out of sight. Daily Vandergriff our drummer is in West Virginia and is in the National Guard.
p.s. The shirts were in the early days. We got pretty grungy at the last!!

Mike Pair sent me a tape of the demo sessions at Fame. Some of the songs are downers, but they’re not all death songs! Many are very accomplished and some have contemporary country influences. The demos include later versions of “Losing You” and “You Couldn’t Love Me”, plus the following songs: “Don’t Love You Anymore”, “Memories of You”, “Rain Song”, “She’s Gone”, “If You Want Me to Go”, “Time for Me to Go”, “Suzie Q”, “Caretaker”, “Lotta Livin’ to Do”. George Wiggin provides harmony on some tracks.

Thank you to Mike Pair for sharing his photo of the Hard Times and for all his help in getting their story told. The WGSN card is from a great site on Birmingham Mike told me about, Birmingham Rewound.

Thanks also to Jeff Lemlich for the scans of the Frankford Wayne acetate.

Update, September 2011

The demo record pictured here was from Frankford Wayne Recording Labs, the leading mastering studio in Philadelphia, but not the recording studio for these songs. The band is still known as “The Hardtimes” (sic), though this would be released under the Rites of Spring name.

Hardtimes Frankford-Wayne demo, "Why" is the same as the released version. — The Hardtimes Frankford-Wayne demo, “Why” is the same as the released version.

Hardtimes Frankford Wayne Recording demo — “No Name” is actually an instrumental version of “Comin’ On Back to Me” without vocals or keyboard or guitar overdubs. Mike Pair told me “That is Ron [Parr on lead guitar], but my guitar answer is not on the [demo] record”. This bare-bones version sounds great to my ears.

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