Category Archives: New York

George Quarta Jr. “Get Loose” / “Don’t Move” and Bob Cribbie “Vow of Love” / “Rockabilly Yodel” on Cool Records

George Quarta, Jr. Cool 45 Get LooseToday I’m featuring two rockabilly artists, George Quarta Jr. and Bob Cribbie, who both grew up in Hudson, New York.

In 1959 they each released a 45 on the Cool Records label out of Harrison, New Jersey. George Quarta Jr. cut “Get Loose” / “Don’t Move”, and Bob Cribbie made “Vow of Love” / “Rockabilly Yodel”.

Cool Records attracted artists from Florida to Vermont. The Hudson connection might be coincidental. The records do not sound similar and may have been cut at different sessions or studios. What makes me think this could be more than coincidence is the 45s had successive release numbers: Bob Cribbie on Cool Records CJ-117, and George Quarta on Cool CJ-118.

George Quarta was born on December 21, 1931 and died on September 6, 2017. Quarta’s obituary states “He performed in the Hudson area including at the old Community Theatre where billboards of George lined the walls as the girls excitedly gathered to hear him sing and play his guitar.” The Community Theatre still stands, but has been disused for decades.

Bob Cribbie Cool 45 Rockabilly YodelBob Cribbie’s vocal on “Vow of Love” is straightforward, but his delivery on “Rockabilly Yodel” is very much “outsider” in nature; he certainly has an odd sense of timing! Bob became known as a idiosyncratic yodeler, appearing on radio and late night TV under his own name and then as Avalanche Bob.

Did George and Bob know each other? I have no idea. Nearly everyone involved in these records has passed away.

What was the connection that brought Hudson NY artists to record at Cool?

It was likely veteran talent scout Jim Small, of nearby Elizaville, NY.

Jim Small and Slim Whitman after WCOP’s Hayloft Jamboree, Cash Box May 16, 1953

Jim Small’s ten years of mentions in trade publications hints at the tough life of a record A&R man.

In 1953 and 1954, Jim received mentions in Cash Box as manager of WCOP, Boston, and business manager of New England’s “Dude Ranch Jamboree” out of WJAR-TV, in Providence, RI.

Billboard, Sept. 29, 1958:
Jim Small of Elizaville, N.Y. .. has accepted talent-scout duties with Johnny Dee’s Vitam Distribution Company, Harrison, N.J., and Johnny Ponz’s Ace Records, New York. Jim will cover Dee’s three labels, D, c.&w.; Vitam, pop, and Cool, rock ‘n’ roll. He’ll cover c.&w. and rock ‘n’ roll for the Pony label. Small, who was laid up most of last winter with pneumonia, says he’s good as new again.

Cash Box, October 11, 1958:

Jim Small … has been chosen by two record companies as a national talent scout. One is Vitam Distribs of Harrison, N.J., which has three labels: the strictly country “D” label, the pop Vitam, and the rock ‘n’ roll Cool label. Small will represent all three. The other outfit is Ace Records, New York, which will add country releases to its pop catalog.

(I am not familiar with a Harrison, NJ “D” label. It could be that it was not used because of Pappy Daly’s D label out of Houston which started earlier that year. I know of only one release on Vitam, Ray King and the Joe Derise Orchestra, “Can It Be Love” / “I’ll Always Love You.”)

Billboard, November 24, 1958 reported:

Visitors at the desk last Wednesday en route to the Nashville deejay festival, were promoter-manager Jim Small of Elizaville, N.Y. and a pair of his artists, Dick Sawyer of Stratford, N.Y. and Neil Swanson, who for the last four years has appeared on “Teen-Age Barn” TV show originating in Schenectady, N.Y … Sawyer’s initial release on Cool Records, “Sandy” b.w. “New Kind of Lovin’,” is due for early release.

The Glens Falls, NY Post-Star on August 6, 1959 mentions talent scout Jim Small in connection to Gerald Galusha, who made a record for Cool as Jerry Edwards, “Shedding Tears” / “Easy to Please” on Cool CJ-128.

Billboard August 3, 1959:

Jim Small, A&R man with Joe Flis’ Milo Recording Company, Harrison, NJ, has taken over the personal management of three Cool Records artists – Dave Osborn, Johnny White and Artie Davis. Small recently ushered Osborn to Wheeling, W.Va., for a guest shot on WJVA’s World’s Original Jamboree. White’s newest Cool release couples “Cryin’ Room” and “Rose in the Garden,” while Davis’ new one on that label is “Book of Love” b/w “Hawaiian Boogie.”

Billboard, April 4, 1960:

Jim Small, who has been associated with the c.&w. music field more than 25 years, has been named vice-president of Milo Recording Company, Harrison, N.J., by owner-manager Joe Flis. Jim has long served as talent scout for Milo and organized the firm’s c.&w. department with its Cool label. Small is presently in De Land, Fla., recuperating from an attack of ulcers which laid him low for several months. He is continuing with his scouting and auditioning during his Florida stay. With him is his right-hand man and assistant, Dave Osborn. Small’s home and office is in Elizaville, N.Y. [Dave Osborn came from nearby Hillsdale, NY, and made records on both Milo and Cool.]

Jim Small’s A-B-S Records label in March 1963: the artist pays $300 for 300 records … future royalties uncertain. George Quarta and Bob Cribbie probably made a similar deal with Cool Records

Billboard, July 25, 1960:

Jim Small, Veepee of Milo Recording Company and Cool Records, Harrison, N.J. is currently on a talent-scouting expedition thru Pennsylvania. Touring with him are his assistants Bud Bailey and Bob Weiss. Dave Osborn, who worked with Small out of the Cool branch in DeLand, Fla. the past winter, is spending the summer with his band in his native New York State. He will return to Florida with Small in the late fall. Jim reports that he is amazed at the amount of solid c.&w. talent that has been overlooked in Pennsylvania.

Billboard April 13, 1963:

Jim Small, president of A-B-S Records, Inc., Elizaville, N.Y., is back in action after spending most of the last 10 months in the hospital. Small has named Bud Bailey as general manger of A-B-S. Firm last week released a new one by Mickey Barnett and His Wranglers, “Just a Memory” b.w. “I’m Sorry I Cheated on You,” both penned by Mickey himself. A new A-B-S religious release spots “I’ve Been With Jesus” and “When I Move” as done by the Missionaires Quartet of Miami.

The Wilmington, Delaware News-Journal March 10, 1964:

Howard Rash, a songwriter and singer of country and western ballads, has purchased ABS Records from Jim Small of Elizaville, N.Y., and DeLand, Fla.

Sportin’ Life “I Can Feel It (Servant to the Sky)” on Riba Records

Sportin' Life Riba 45 I Can Feel It (Servant to the Sky)Sportin’ Life cut a great psychedelic 45 in the summer of 1968, “I Can Feel It (Servant to the Sky)” released on Riba Records R-1004/R-1003. I don’t know if Sportin’ Life was an actual group or a studio gathering. From writing credits on “I Can Feel It” members included Ronald Weissman, Michael Swerdlow, John Homenick, and possibly Richard Babeuf, who produced the record.

Babeuf also wrote the ostensible A-side, “I Can’t Wait Till Tomorrow)” and registered both songs with Kenyon Publications.

Babeuf owned Riba Records, with an address of 65 W. Merrick, Valley Stream, NY. Riba only had one other 45 I know of, the Renés “Shy Guy” / “You’re Wrong” on 45-10012 from 1965, also using Kenyon Pub.

I can’t find more info on Weissman, Swerdlow or Homenick, but Rick Babeuf had plenty of other credits in the music business.

One of the most notable is Gaslite Village “I Am Afraid” (written by Babeuf and Herbert Hilton) b/w “Up from the Underground” (Babeuf) on Murbo M-1029. Babeuf produced the record, which received a mention in the February 22, 1969 issue of Record World. Gaslite Village was probably a name made up for the record, the songs produced at different sessions, with copyright registered at different times (October ’68 and January ’69 respectively).

Babeuf was arranger on Jim Jackson “Welcome Me Home” / “Some Love with Soul” on Sandbag Records S102, produced by Mike Szymansky, who owned Sandbag and operated Omega Sound Studios in Rockville Center. Babeuf does not have any other credits on other Szymansky or Sandbag productions, but Sandbag released another good rock 45, the Epitome of Sound “You Don’t Love Me” / “Where Were You” on Sandbag S 101.

Babeuf and Frank Szelwach produced the Mauroks “Susan” / “Story of My Journey South” on De-Lite Records 517.

Babeuf produced and co-wrote (with Szelwach) the A-side of Frank Dean “My Son (This I Say To You)” / “If I Could Fly” on R & R Records R-102, also in 1969. I suppose Frank Dean was an alias of Frank Szelwach.

Cash Box August 9, 1969:

R&R Records Formed

R&R Records has been formed here at 1650 Broadway and 663 Fifth Ave. Heading up the operation, which also includes two publishing firms, Ren-Maur Music (BMI) and R.R. Music (ASCAP) are: Rena Romano, president, Steve Levy, business manager; and Richard Babeuf, general professional manager of the publishing units; Ric Drew, public relations director …

Billboard, August 8, 1970:

Riba Music Co. has just completed original music for 30″ and 60″ radio spots for Modern Sash and Aluminum Co., Inc. and Electro-Way of N.Y., Inc. Music was composed and arranged by Richard Babeuf.

Riba also did radio ads for Bick’s Family Restaurants and Hathaway’s Furniture Galleries.

Billboard September 12, 1970:

Richard Babeuf is also finishing up original material and charts for a new group called Labyrinth which will debut this fall with a new electro-visual presentation concept.

Billboard, October 17, 1970

Riba Music Co. will supervise all facets of the musical activity on the upcoming off Broadway play, “Iphegenia.” Richard Babeuf, general manager of Riba, will act as music director and conductor, and will supply all arrangements.

This may have referred to Wedding of Iphigenia and Iphigenia in Concert which ran at the Public Theater for a few months starting in December, 1971. However that production had music by Peter Link, performed by a group called Goatleg!

That’s as far as I got on Mr. Babeuf.

Sportin' Life Riba 45 I Can't Wait Till Tomorrow

Kennett Sound Studio acetates – Unknown and unidentified artists

Claud Stuard [sic] – Claude Stewart, or Claude Steward?
Bands and musicians from Schenectady, Albany, Poughkeepsie, and other areas traveled to Kinderhook to record at Earl Kennett’s studio.

A number of lacquer demos (commonly called acetates) of various sizes remained when Kennett Sound Studio closed and the property sold. Many of these demos are of the Cleaners (later known as the East Coast Clique), the group Kennett worked with the most. Others duplicate the recordings that would be released on 45 rpm records.

Below is a list of demos by unknown artists, in approximate chronological order. Because Earl was blind, many were unlabeled, though Earl’s young daughters sometimes added names or titles. Many song titles below are my guesses based on the lyrics.

Please take a listen to the audio excerpts and contact me if you know any of these artists.

8″ acetate by James Morse, not the same song as the Claude Steward, above. Another 8″ acetate has his name as Jimmy Morse
8″ lacquer acetates

Claude Steward (Claude Stewart?)
“I’m Going Your Way, I’ll Walk You Home” (excerpt)
“Goodbye Girl” (excerpt)

Jimmy Morse / James Morse
(two 8″ acetates, circa 1967)
“Can’t You See I Want You (Time After Time)” (excerpt)
“Back Alley Blues” (excerpt)
“Hey Little Girl” (excerpt)

Horvath family song, 1967 – Excerpt

Chain Reactions Kennett Sound Studio Acetate 45 Black and Blue

7″ lacquer acetates:

Unknown rock group circa 1968
“Goodbye” (excerpt)
“Girl” (excerpt)
Group from The Office Kennett Sound Studio Acetate 45
Chain Reactions (circa 1967)
“Black and Blue” (excerpt)

Group from “The Office” (circa 1968)
“He Was a Friend of Mine” (excerpt)
“Who Do You Love” (excerpt)

Unknown soul group – male lead with female backup
“Baby” excerpt

Pink Sydel Kennett Sound Studio 12 inch acetate
The Pink Sydel ?!

12″ lacquer acetates:

The Pink Sydel, 4/20/1968
“Memories”
“The Pink Sydel” (excerpt)
“Happy Together”
“We Gotta Get Out of this Place”

Unknown rock band circa 1969
“Darling Please” (excerpt)
“Please Try” (excerpt)

Folk singer Greg (surname?), associated with Hudson River Clearwater Sloop, circa 1969. Five songs, may not have been recorded at Kennett as it sounds like a radio broadcast.
Hear “My Dirty Stream” with discussion of Sloop restoration

Unknown band with horns, circa 1970:
“Vanilla on My Mind” (originally done by the Yellow Payges)
“Lady in the Night” (excerpt)
“Forty Million Dreams” (excerpt)
“It Will Take Time” (excerpt)

The Coachmen – “Green Green Grass of Home”
Unknown (The Coachmen?) – “Green River” (excerpt)
Unknown (The Coachmen?) –“You’re Gonna Be My Girl” (excerpt)

Unknown female vocalist with acoustic guitar, flute & drums, early ’70s:
“Lonely Eyes” (excerpt)
“If There’s No You Baby” (excerpt)

Unknown lounge/pop singer with combo:
“Lonely” (excerpt)
“Around the World” (excerpt)

Those Two Plus – Alex Rotter and Dawn Mickle “I’ll Be There”

Schenectady Gazette, September 17, 1968

Those Two Plus Kennett 45 I'll Be There

Those Two Plus – “I’ll Be There” / “It’s Rainin’ (Where I’m Bound)” (both by Alex Rotter, arranged by “Those Two”) Kennett Sound 0017, 1969.

Alex Rotter and Dawn Mickle performed as simply “Those Two” in a couple news reports. The Oneonta Star noted on August 10, 1968 that the duo took second place in the Folk Music Contest at the Otsego County Fair.

The Schenectady Gazette ran a photo of the duo on September 17, 1968:

Those Two, folksingers Dawn Mickle of Warnerville and Alex Rotter of Schenectady, who won top honors at the Cobleskill Fair and first in the semi-finals of the State Fair, entertained patients at the Eden Park Nursing home …

I have a 12″ acetate from the Kennett Sound Studio that includes both songs from the single. Another 12″ acetate contains five songs performed by Alex and Dawn which were not released.

From listening, I believe four of these to be original songs: “If I Were Free”, “Take Me to the Land of Lovin'”, “I Can Tell”, and “I Know What You Mean to Say” (titles are based on the lyrics), along with a version of Fred Neil’s “The Other Side of this Life”:

The Kennett Studio labels are blank.

Thank you to Peter Aaron for loan of the Those Two Plus single, and for finding the Gazette article on the duo.

Heathens – “The Other Way Around” / “Problems” on Vibra

The Heathens came from Schenectady, NY and cut one of the greatest singles of the area “The Other Way Around” / “Problems” on Vibra L-104. The Heathens recorded at Vibra Sound Recording Studio, but the cavernous sound does not diminish the energy of the group.

Michael Dellario wrote both songs and sang lead vocals. The labels credit Hooker, Stahl, Petticrew, Sheer & Marquez for arrangement.

I had to look back to Steve Rosen’s article in Kicks #2 for a full listing of the band, as there was none on the internet. In the article, the members are listed as

Michael Dellerio – lead vocals
Laddie Stahl – guitar
Steve Pedicrue – guitar
Larry Hooker – keyboards
Paul Marques – bass
Mike Sherer – drums

The article lists different last names for four members of the band than the record labels. I suspect the article has a number of typos. Going by the labels the lineup would be:

Michael Dellario – lead vocals
Laddie Stahl – guitar
Steve Petticrew – guitar
Larry Hooker – keyboards
Paul Marquez – bass
Mike Sheer – drums

The article gives some interesting information about Vibra Sound studio:

The Heathens were the first to record at Schenectday’s first studio, Vibra Sound, which at the time was located in the home of proprietor Nate Schwartz. As Mike Dellario remembers it, conditions were primitive: “At the time, the studio was his garage and the engineering booth was his basement. I remember there was no eye contact at all. All the talking was through the microphone. Everything was done basically in just one shot, no concept of tracking.”

The Heathens broke up when the members graduated high school in June, 1967. The article states that Dellerio stuck it out with several subsequent bands and eventually cut some demos for Warner Brothers … He hopes to work with local bands on a producer/arranger level.

Mike Dellario changed his name to Michael Dellaira and became an orchestral composer.

The Sensations, including Larry Hooker with the tambourine, and George Supreneault in the white shirt at right.
Walter Phelps (who was lead guitarist for the Ravens, also managed by Marty Wade) sent in this photo of the Sensations, which had some members who would go into the Heathens.

Morning After “I Don’t Need You Today” / “Dream” on Third Wave

Morning After Kingston Daily Freeman March 7, 1970Morning After released one record in 1970, “I Don’t Need You Today” / “Dream” on Third Wave 0027.

Members were:

Joe Kearney – lead guitar and vocals
Bruce Talbott – bass guitar and vocals
Jim Tate – drums and vocals

Although all three have song writing credit on the labels, copyright registration from March, 1970 shows Bruce E. Talbott wrote words and music to “I Don’t Need You Today”, and Talbott and Joseph Kearney co-wrote “Dream”. Dyad Music published the songs, but I don’t see them in BMI’s database.

According to an article in the Kingston Daily Freeman from March 7, 1970, the group met in New Paltz but were based in Kingston, NY. The group were in their early 20s, so they may have had previous band experience.

For Them, Rock’s the Mother Tongue

Morning After is not much interested in talking up a revolution. Its three clean-cut, suede-jacketed-and-vested members prefer to sing songs that are rhythmic with vocal harmony rather than rife with social movement … forsaking screaming lyrics and fire-eating antics for music with a straight-ahead sound.

Relying on the powerful, bluesy, lean sounds of Wallkill drummer Jim Tate, Kingston lead guitarist Joe Kearney, and bass guitarist Bruce Talbott of Walden … Their impeccable instrumental style and express-track delivery has brought them bookings at The Creamery in West Park, the Thunderbird in Saugerties, the Blue Eagle in New Paltz, and the Trade Wind and Coral Reef in Newburgh …

Talbott … tied in with the other two members of the group during a jam session while he was a student at New Paltz State University College.

The new disc, produced by Lance Naylor for Third Wave Records, was recorded at Kennett Sound Studios in Kinderhook: is currently available at Caldor’s Abrams and Britts.

(T.G.)

I don’t know if Talbott, Kearney or Tate continued in music after Morning After. Their record is one of the few singles from Kennett Sound studio that I don’t have in my collection.

Lance Naylor had a previous mention in the Daily Freeman, from March 25, 1969:

Theft of musical instruments valued at $1,000 from the Pleasure Yacht Tavern here, was under investigation …

Lance Naylor … manager of The Spurs, a musical group, reported the theft on Monday to authorities. He said the missing articles included three amplifiers and other musical equipment.

Riccardo and the 4 Most “There’s a Reason” on Foremost Records

Riccardo and the 4 Most photoRiccardo and the 4 Most Foremost 45 There's a Reason

Riccardo and the 4 Most made one single, the great ballad “There’s a Reason” backed with a good version of “Barefootin'”, released in 1967 on Foremost Records.

The band is listed on the label: Riccardo Wright (guitar), Ralph Marotta (bass), George Leary (drums), and Douglas Jacobs (organ). Bill White wrote and sung lead on “There’s a Reason”.

Riccardo and the 4 Most Foremost 45 Barefootin'“Bare Footin'” features Ricardo Wright on lead vocals. Someone is playing trumpet on both songs, uncredited.

Later members included Joe Lattanzio (trumpet) and Tommy Watson (bass). In 1969, with an expanded horn section including Ron Rucker on trombone and Gene Hilstro on sax, the group became a nonet called the Blues Busters.

If any of the members of the band are out there, I’d like to hear from them.

The single was recorded at Kennett Sound Studio in Kinderhook. I found an acetate lacquer of both sides among a stack of Kennett demos. The Foremost Records release code U4KM-0937 indicates a 1967 RCA pressing.

Ricardo and the 4 Most Excelsior House, Troy Record, February 11, 1967
ad from February 11, 1967
It’s a little difficult to search for the band, as listings for the group in newspapers include variations such as Riccardo & the Fourmost, Ricardo and the 4 Most, Ricardo and the Foremosts, etc. The sign behind the band on stage in two photos reads “The Fabulous 4 Most”.

The earliest ad I can find for the group is from the Troy Record on February 11, 1967, noting that Ricardo and the 4 Most would be playing the Excelsior House on Snyders Lake in North Greenbush “every Friday, Saturday and Sunday”. Another ad on August 19, 1967 noted the group would play the Excelsior “every Thurs. thru Sun.

The Times Record of Troy mentioned the group playing Shaker High School in Latham twice, once on January 15, 1968, then again on May 29, 1968 in a benefit for a Shaker school in Vadawal, India. The group also played the University Twist Palace in Albany.

Another ad lists Ricardo and the Foremosts at Corkey’s on 18 Clifton St. in Waterford, April 5-7, 1968.

The Troy Record noted a Youth On Unity dance on May 29 at St. Joseph’s Church Hall in Rensselaer with the Blues Busters (“formerly known as ‘Riccardo and the foremost’ from Albany” with the Souls from Pittsfield and the Multi-colored Projections.

Riccardo and the Fabulous 4-Most
A clipping from January 25, 1969 (I don’t know the paper) describes their transformation into Ricardo and his Blues Busters:

Riccardo and The Fourmosts, as you younger people know, has enlarged from four to nine. The new nonet is called the Blues Busters and features rhythm & blues and soul music, much of it original words and music by Riccardo, the leader, and some arrangements by Al Friedman.

The Blues Busters are a living example of interracial harmony, personally and musically. They play to an enthusiastic gathering at The Royal Mousetrap from 9:30 to 3 Friday, Saturday and Sunday. The Mousetrap is on New Karner Road (Route 155) just off Central Avenue [in Colonie].

The two photos and some of the info came from the Albany Group Archive. Thank you to Al Quaglieri and Joe Lattanzio for their help with this article.

Riccardo and the Fabulous 4 Most photo

Kennett Studio lacquer 7″ for “Barefootin'”

Frani & the Frantics on Giant Star

Frani & the Frantics, from left: Fran Russak, Karla Major, Alayne Major and Jim Morabito

Frani & the Frantics were a vocal quartet of Fran Russak, sisters Karla Major and Alaine Major, and Jim Morabito. Fran Russak came from Carmel, New York, the others from Peekskill.

Their one and only single from the spring of 1964, “You Threw a Line” b/w “Skin and Bones” was also the first on the Giantstar label of Mahopac, owned by Raymond Meltzer. Giantstar would release three singles by the Mark IV of Poughkeepsie.

The labels of Giant Star GS 401 credit Dorothea Meltzer & Jeannie Villetto for both songs. Ray Meltzer owned Jemel Publishing, JNR Production and Music-All Inc. Copyright registration shows another song, “Why Ya Make Me Wanna Cry” which Frani & the Frantics attempted but didn’t finish.

Jeanne Villetto had previous experience in song-writing, composing songs for two singles by Claire Lane (aka Claire Litke, a member of the Ramrods): “I Dig That Guy” for the top side of Josie 904 (b/w “Run Run Run Away”), and “Curiosity” / “Isn’t It a Shame” on Petal 1020 in August, 1963.

Villetto and Litke also wrote “Do You Hear Me Call?” in 1962, but I’m not sure if this was recorded.

Alaine Major wrote to me about her time as a Frantic:

I was one of the Frantics of the group Frani and the Frantics. The “Frantics” were myself, my sister Karla and Jimmy Morabito. We recorded “You Threw a Line” backed by “Skin and Bones” in 1964 with Ray Meltzer and Jean Villetto.

Karla, Jimmy and I sang in high school. One day we saw an ad in our local Pennysaver that record producers were auditioning singers for studio backup work (for Frani). We thought that sounded like fun, so we called and auditioned. Once Ray Meltzer and Jean Viletto heard us sing (acapella), Jean decided right then and there that instead of us being studio backup singers, she wanted to form a group.

Within two weeks we were under contract. We rehearsed locally in the Peekskill area for two months most evenings and weekends with a small combo. Finally Ray and Jean decided we were ready to record. Our Mom drove us to Mars Broadcasting [in Stamford, Connecticut] for the recording sessions. Ray knew several musicians from the New York Philharmonic who made up the orchestra you hear on the record. I remember the engineer Chuck James who was truly supportive of our efforts.The studio was very crowded with the musicians on one side and we on the other. We each sang into a hanging mic. There was a lot of down time as the engineer worked on the board with Ray and Jean listening and tweaking. (I also remember hearing that Mars Broadcasting was owned by Dick Clark).

Music-All was Raymond’s company and was the name on our contract. “Why Ya Make Me Wanna Cry” was supposed to be the ‘B’ side of “You Threw A Line”, but the next week we switched to “Skin and Bones”.

At our request, “Skin and Bones” was done acapella. If you listen to it again, you’ll hear me cue Frani her note after we modulate up on the word “bones.”

Jarlayns Giantstar 45 I Don't Love You Anymore
The Jarlayns on Giantstar GS-402, “I Don’t Love You Anymore”, released February 1966
We played rock n roll shows with The Duprees, The Ventures, The Rivieras, and others I don’t recall anymore. It was an exciting time for three high school kids from Peekskill, NY! We became local celebrities and got invited to sing at many, many shows and events.

A year later I used to do a lot of writing and I would go to the studio just to get my stuff on tape. Under the name The Jarlaynes, we recorded “Why Don’t You Call” with Karla and I playing the acoustic guitar. “I Don’t Love You Anymore” was originally just me and my guitar and Chris Dikaris [who also had a single on Giantstar] added instruments & backup vocals. I wrote both of those songs and so my name, Alayne Major, is written underneath the song title.

After high school Karla, Jimmy and I began singing as a trio again and sang at many local events and “hootenanny’s” which became popular with the advent of folk music.

Jarlayns Giantstar 45 Why Don't You Call

Mirabai in the Poughkeepsie Journal, September 5, 1976

Karla was also a student at New Paltz. Jimmy moved on, but Karla and I sang as The Major Sisters and were invited to other colleges to perform in their hootenanny’s. We also were asked to be the opening act for several musicians at college concerts which included Chuck Berry (!), Judy Collins, Miriam Makeba and Hugh Masakela among others. This went on through 1969.After Woodstock, Karla moved to San Francisco and started a band, and I was a wife and mother. In 1970 Jimmy was drafted and went to Vietnam.

I was the impetus for Karla’s solo career through contacts I’d made. She used the stage name Mirabai. She returned from San Francisco around 1972 and moved to NYC where she was a headliner at Reno Sweeney’s, Catch a Rising Star, and The Bottom Line (she opened for Billy Joel, Kenny Rankin, Loudon Wainwright III). Her big break came in 1974 when Jimmy Cliff was going to do his first U.S. concert at Carnegie Hall and he requested Karla (then Mirabai) be his opening act. Danny Goldberg caught her performance and began managing her career at that point.

In 2006 Karla was living in Asheville, NC with her family. She got in touch with Bob Johnston who produced her album and he produced a new CD she’d written. Unfortunate personal events precluded its release, but I have the master and a couple of first CDs printed.

I learned from a friend that Raymond and Jean got married and lived out the rest of their lives in Florida. Karla died in 2016, and Jimmy died on March 14, 2022.

Thank you to Alaine Major for answering my questions about the Frantics!

Thanks also to Mike Markesich for the scans of the Jarlayns single on Giantstar.

Frani and the Frantics mentioned in the Mamaroneck Daily Times on April 30, 1964

The Lemon Sandwich – “Give Me Love” / “I Must Be Dreaming”

The Lemon Sandwich released the very cool “Give Me Love” on La Salle Records L-371, backed with “I Must Be Dreaming”. Eddie Hileman wrote both songs.

Tommy Burke used the Lemon Sandwich’s exact recording of “Give Me Love” for his 45 on Lauren L-2513 backed with “I Don’t Want to Be Your Keeper”, with writing credit for both songs to Tommy Burke.

Eddie T. Burke then released the Lemon Sandwich’s “I Must Be Dreaming” on E.T.B. Records ETB-113. I’m not sure if this was the same recording as the Lemon Sandwich or not, but with LA SALLE CE 15/16 cut into the dead wax, I believe it probably is. The flip is the Taboos “So Sad” but with Eddie Burke doing new vocals. For this release Eddie Hileman is given writing credit for both songs, even though the Taboos was by Brennan and Palazzo.

Phil Fallo contacted me about the Lemon Sandwich:

I was lead guitarist in the Lemon Sandwich back in 1968-69. When I joined, they were a quartet, Ed Hileman was the sole guitarist. I was brought in to play lead guitar and we became a 5 piece. The bassist was Tom Davis, the drummer was Mike Kritsky and the organist was named Al. We were all from New Jersey.

I believe that single predates me – maybe early 1968. We were very successful in Greenwood Lake, NY where we were house band at “Mother’s”, the largest club on the lake for an extended period. We played other places on the lake like the Long Pond, Big Daddy’s and TA’s East. We broke up in 1969.

At the time the drinking age was 18 in NY and 21 in NJ and all these clubs were located just over the Jersey line on the NY side of the lake. Flocks of teens from NJ would come up to the lake to be able to drink. When the drinking age changed, most of those clubs burned down killing the scene.

That was probably the most successful band I was in. After that played in a number of bands that worked the northern New Jersey circuit or in Greenwich Village. Syren, Apollon, Buck Scrub, St. Jack. Also played in a band led by Tom Feher, who had been in the Left Banke, and another led by Paul Klein who prior to my time had a band called the Wind in the Willows. My last band broke up in 1978-79.

Anyone have a photo of the group?

For more on La Salle and Lauren records, see my post on this site.

The Silver Byke ‎”I’ve Got Time” / “Who Needs Tomorrow” on Bang

The Silver Byke at Arthur’s, photo courtesy of Reggie Ward
The Silver Byke ‎released only one single, “I’ve Got Time” / “Who Needs Tomorrow” on Bang Records B-557.

Charly Cazalet wrote “I’ve Got Time”, while “Who Needs Tomorrow” is credited to Cazalet, Nelson, Platania, and Ward.

Cash Box gave it a favorable review in April, 1968. It was also released in the UK on London Records.

Supposedly the group had more songs completed for an album when Bert Berns of Bang Records passed away on December 30, 1967. If they still exist, I’d love to hear them!

Members were:

Reggie Ward – lead vocals and rhythm guitar
John Platania – lead guitar
Charly Cazalet – bass guitar
Michael Nelson – drums

An unsigned profile of the Silver Byke appeared in the May 4, 1968 edition of the Kingston Daily Freeman:

Silver Byke Rolls Along Sporting Guitar and Song

The Silver Byke is a recording group out of Poughkeepsie …

The Silver Byke was the last group to be signed to a recording contract and become proteges of the late great Bert Burns [sic] of Bang Records. Two of their recent releases on this label are “I’ve Got Time” and “Who Needs Tomorrow”.

Among the many successful college concerts where the Silver Byke has made its sound are Vassar, Harvard, Bard and Finch…

Founder of the group is Michael Nelson, a drummer who began his career several years ago with the Lost Souls. He later recorded with Bobby Dylan. After a stretch on the New York music scene he returned to the Hudson Valley where he had spent most of his life after coming over from his native England.

Charlie Cazalet [sic], bass guitarist, immigrated here from France and stepped right into the music scene at 17. After accompanying well known groups here and in Canada, he joined Mike in The Silver Byke, then under the name of The Meek and Obscure.

Most recent member of the Byke brigade is 20-year-old John Platania, lead guitarist. A well known instructor in upstate New York, John gained fame as lead singer and guitarist with the big city group, Love’s Body.

Formerly a member of the Dirty Elbows recording group, Reginald Wald [sic], also 20, does honors as lead singer and rhythm guitarist for the Bykes. He also switches from guitar to trumpet and does a good deal of horn dubbing for the Bykes recording sessions.

Recent engagements have been two weeks at the Discotheque Arthur in New York City and weekend performances at the Dew Drop Inn, Eddyville.

from the Daily Freeman, October 17 1969
I can find listings for the band around the Poughkeepsie area from December 1967 until April 1969, including at the Dew Drop Inn on Route 213 in Eddyville, and at the “Us” teen club at Roosevelt High School in Hyde Park.

Then in October 1969, an ad for the Pleasure Yacht in Eddyville announces the Bak Steppe, “including members of the Famous Silver Byke”.

Charly Cazalet wrote a partial history of his career for his release Rough Mix-NYC, which I’ll excerpt here:

Silver Byke Photos
The Silver Byke, photos courtesy of Reggie Ward

My first professional performance was with my first band ‘The Outsiders’ at the Steve Paul Scene nightclub in New York City, the fall of 1964. I was sixteen years old and the band had already recorded two songs at Mirror Sound for a couple of writers from the infamous Brill Building. Soon after we signed with Audio Fidelity Records. Over the next few years I continued to perform in NYC clubs, The El Mio, Ondine’s, The Phone Booth, Arthur’s, The Bitter End and The Salvation to name a few.

In May 1966 after a four month tour in Quebec with French Canadian rock star Tony Roman I came home to NYC and met the band ‘The Left Banke’. They had just recorded “Walk Away Rene” and were looking for a guitarist to join the band. I didn’t join the band but maintained a professional and personal relationship with some of the band members until today. I played bass guitar on most of the tracks for The Left Banke’s third and last album ‘Voices Calling’ around 1978 that was released in Britain in 1988.

The Left Banke lead singer Steve Martin Caro co-wrote and sings lead on track 1 and 4 and sings harmony vocal on track 8 [on Rough Mix-NYC]. The Left Banke drummer George Cameron plays on track 5, 6, and 8. These five songs were recorded between 1978 and 1979. Reginald Ward sings lead on Track 5.

Reggie and I performed in a four piece band called The Silver Byke with John Platania and Mike Nelson between 1967-1970. We signed with legendary music producer Bert Berns, but Bert passed away before we recorded and released a 45 rpm for his label Bang Records. Chris Houston from the British rock band The Undertakers produced the session.

I asked Charly about how he joined the Silver Byke and he wrote to me:

I met Mike Nelson around early 1965 at a club called Ondine in midtown Manhattan. He was playing there with his band The Lost Souls. When they finished the set I went up to him and started talking with him.

At the time I was in a band called The Outsiders and we were the house-band at the El Mio club not to far away from Ondine. A short time later he quit his band and started spinning records at El Mio for a while. My band left El Mio and broke up soon after and some time after that I ran into Mike and he didn’t have a place to stay so, I took him to my parents and they said he could stay with us. To make a long story short, he got a recording gig with Bob Dylan and made a bunch of money $500, so we got an apartment together.

After playing in a number of bands together we formed The Sliver Byke. When the lead guitarist quit we got John Platania to fill in. We broke up in Jan. 1969. I played with John for a while, until he sent on to play with Van Morrison. Mike and I parted ways.

John Platania would go on to play on albums by Van Morrison, Chip Taylor and Genya Ravan, among many others. See www.johnplatania.com for more info on his career.

The Los Angeles Times profiled Mike Nelson in January, 1987, describing his move to California while playing fusion jazz, then leaving music to become a sculptor.

Thank you to Reggie Ward for sending in the photos of the group seen here. Reggie was in a group called Easy Street in the 1970s.