When singers John Finley and Lee Jackson left The Jon-Lee Group (aka Jon & Lee and The Checkmates) in mid-September 1967, Toronto singer David Clayton-Thomas picked up their backing band, renamed it The Phoenix and moved to New York.
After a month’s rehearsals, the group debuted at the Bitter End and then briefly played at the East Scene in October before working as the house-band at Steve Paul’s The Scene.
The band’s career, however, was cut short during early November when Clayton-Thomas was deported for being an illegal alien.
Leishman also returned to Toronto at this point and played with several groups, including The Power Project and Bobby Kris & The Imperials before joining The Duke Edwards Cycle in late 1968.
Hodgson meanwhile was offered a place in Project Supergroup (later Rhinoceros) in December and flew out to Los Angeles to audition.
After being passed over for the group in early 1968, he briefly rejoined David Clayton-Thomas in his group, David Clayton-Thomas Combine. When that split in mid-1968, Hodgson moved back to the US and became a member of the Paxton Ranch Band, playing on Jackson Browne’s early recordings (aka Baby Browning).
Cutler stayed in New York and worked with an embryonic version of Hot Tuna and then did a stint drumming and managing The Crazy World of Arthur Brown during the band’s summer ’68 North American tour. He later worked as a manager for The Holy Modal Rounders.
When Clayton-Thomas had previously worked in New York in March 1967, he had shared a flat with former Bob Dylan bass player Harvey Brooks, who was in the process of putting The Electric Flag together.
Apparently Brooks had offered Thomas the original vocal slot in the group, but he declined.
Fonfara however, did accept an invitation from the Flag’s drummer Buddy Miles to replace Barry Goldberg when the latter got busted in November 1967.
Fonfara duly appeared on the group’s debut album, before becoming a member of Project Supergroup the following month, which soon changed name to Rhinoceros.
Hodgson and Leishman both rejoined Fonfara in Rhinoceros in 1969.
David Clayton-Thomas joined Blood, Sweat & Tears in June 1968.
Advertised gigs
19-22 October 1967 – Steve Paul’s The Scene, New York with The Carnival Connection
The Four of Us came from Queens, NY, though I’m not sure which neighborhood.
“I Don’t Need No One” is good tough garage with sax, written by Joseph Guido, Stephen Guido, and Jose Maldonado, all probably members of the group.
“I Don’t Need No One” was reviewed as the top side in Cash Box in January, 1966: “Raunchy funky shouting tune based on an everpresent solid beat. Strong guitar and hard vocal work could start this one off toward being a biggie.”
The flip is the more pop “Iga Diga Doo”, technically the A-side, written by Harold Onderdonk, George Bonetti, Tom Cox, and Jim Carrick. Merrimac Music Corp. published both sides. This team also wrote “Stomp ‘Em Out” for the Exterminators on Chancellor CHC 1148, the flip to “The Beetle Bomb”, but were not credited on the label. Ding Dong Music Corp published “Stomp ‘Em Out”, registering copyright in April, 1964 (March, 1964 for “The Beetle Bomb”).
The Four of Us was released on Brunswick 55288. Producer Harry Goodman was Benny Goodman’s brother.
I would appreciate more info or photos of the group.
Joey Guido and Jose Maldonado (as Jose Mala) formed the Koala with Anthony Wesley, Joe Alexander and Louis Caine, releasing an album & single on Capitol in 1969 featuring all original songs by Guido and Maldonado. In 1974, Jose Mala replaced Eric Emerson in the Magic Tramps.
The Cloudwalkers came from the Bensonhurst neighborhood of Brooklyn, New York. They cut one single, the harp-driven “Sunglasses” b/w “Never Told Me So” on Capco 106 in mid-1965.
“Sunglasses” isn’t the same song as the Cramps’ “Sunglasses After Dark” but I’d like to think there was some influence there. The single made it to #49 in Record World’s “Singles Coming Up” chart.
Members included Chris Welch and Peter Polizzano, who wrote both songs on their single, plus Pete Frias.
“Never Told Me So” is a fine Buddy Holly influenced rocker.
George Napolitano of the Ox-Bow Incident told me that Pete Frias was the guitar instructor and mentor of many musicians in the neighborhood, and also was guitarist for Jimmy & the Jesters, a group that often played the Peppermint Lounge. George also thought the Cloudwalkers single was recorded at Rossi Sound Studios at 2005 West 8th Street and Avenue T in Brooklyn.
The labels note “A Billyjo Production”. The engineer for the session was Joe Venneri, who was a guitarist for the Tokens during their early days, then became an engineer at Incredible Sound Studio, Mira Studios and Mercury Records.
Chris Welch and Peter Polizzano registered both songs with the Library of Congress on July 2, 1965. Publishing came through Calboy Music, BMI, owned by Joe Calcagno who also owned the Capco Records label.
An ad in Billboard in November 9, 1965 lists Capco Hitsound Records at Southard Ave in Rockville Center, NY. The label was promoting Capco 108, Irv Goodman’s “Hava Nagilah” / “Sugar Blues au Go Go” produced by Jimmie Haskell.
Singles by the Crossfires, the Don Rays and others on a green Capco label, circa 1963, come from a Los Angeles company probably not associated with Joe Calcagno.
I’d appreciate any further info on the Cloudwalkers.
This single by Arboreal was a mystery to me, the only names on the label are Glen, Greg Allen, and no label name or address. Even the deadwax only repeats the 45-ST-101 A/B on the labels. When I first wrote this post in late October, 2016, there was no info on the ‘net, nothing.
Obviously it’s not ’60s garage but sounds like mid-late 70s rock, without much punk influence. The opening of “Our Souls Would See Us Through” reminds me a little of Wire, but that’s as far as it goes. “16 Years Old” gives more attitude, but both songs have an original sound that can’t be pegged to any movement or sound from the time. The songs are in stereo.
As it turns out, Arboreal were two brothers, Greg Allen and Glen Allen, originally from Nutley, New Jersey but living in New York City when they went into a studio as early as 1968 and cut the songs on this single.
The entire post is worth a read, but the relevant paragraphs are:
Greg and I had a clunky but good sounding Telefunken tape recorder and, later, a Sony that had sound-on-sound,as it was called back then. We could overdub ourselves. Many Dada-esque tunes were recorded, and some attempts at “real” music as well.
But in ’68 I took up guitar, and we wrote and recorded more in earnest. By then our family had been in NYC for about a year. Greg and I decided to record in an actual studio.
An older classmate of mine, Jon Fausty, was working in a studio that specialized in Latin music. The first day in the studio the equipment went south, wouldn’t work. I was actually relieved, for although Greg and I had performed in public and had recorded at home, this was A STUDIO! Where RECORDS WERE MADE!
The next day the gear was in working order, and I had shaken off the nerves. After all, I did have long wavy hair, a cool turquoise ring, a Superman-logo’d tee shirt, tie-dyed jeans, and, most of all, my ’68 Gold-Top Les Paul Standard on which I had mastered the three essential chords.
I also loved the name we’d devised: Arboreal. We always had a thing for chimps, and we both probably would’ve proposed to Jane Goodall.
Greg was a metronomic drummer, a better time-keeper than me (‘though I keep good time!). But who knew at the time that left handed drummers set up their drums differently than righties? Not us — we’d only seen righties ever play.
Nontheless, with Greg keeping time and me on guitar, bass and vocals(!), we cut “Our Souls Would See Us Through,” which Greg wrote the lyric for, and “Sixteen Years Old,” which I wrote.
The chorus on “Sixteen…” was originally “Things are pretty shitty when you’re sixteen years old..” But for the sake of mass appeal and radio play, I cleverly changed “shitty” to “sickening”. A move of rare genius, though I missed the sheer beauty of the “pretty/shitty” rhyme scheme.
Greg, in true mystical metaphoric mode, came up with “we gazed into each other’s eyestreams, until we met each other’s dreams.” And to think — “eyestreams” was hardly ever used back then!
We printed 100 45’s, sent them out to several record companies, and waited for the offers to roll in. Some of the rejection letters came on very nice stationery. Some with encouraging comments and actual signatures!
As I recall, Pickwick, a budget label, made an offer, but we held out for the big fish. That fish is still swimming merrily out there somewhere….
I’d like to hear some of the Allen brothers other early tapes, they obviously had a very original approach to rock music.
The Innkeepers, from left: Mike Vendetti, Vito Turso, Gary Matson, Mike Lucente and Steve Saltzman
The Innkeepers came from Rosedale in Queens, New York (not Bayside as previously thought). Rosedale is close to JFK airport, along the eastern edge of Queens, bordering Nassau County.
Members were:
Gary Matson – vocals and percussion Mike Vendetti – Gibson guitar Vito Turso – Hammond organ and vocals Mike Lucente – Fender bass Steve Saltzman – drums
The Innkeepers had one excellent single in late 1966, “Never Should Have Done It” b/w “Wanted” on Galiko 895. Leon Salem wrote both songs, he was in a jazz group at Queens College with Mike Lucente.
“Never Should Have Done It” jumps into a tense mood, with a neat sliding guitar riff throughout the song and the line “life’s not worth living now, ever since the day, oh-o-o, you left me.” The drummer keeps a strong pace, and the bassist pushes the mood as each line of the lyrics crescends and crashes. The organ player compliments the repeating guitar and takes an extended solo after a brief guitar break.
The band comes up with a tight arrangement and good harmonies to back the lead vocalist on “Wanted”.
One of the Innkeeper’s most notable shows was at the Action House in Island Park, NJ, on December 4, 1966.
Ads for the show (viewable on the Mind Smoke Records site) promise an incredible lineup, including: The Mothers of Invention, the Velvet Underground, the Fugs, the Godz, the Vagrants, the Left Banke, the Wild Ones, and the Bit a Sweet.
Also, the Seventh Sons, the Fantasy Machines, the Ronettes, the Shangri-La’s, Lenny Welch, Monti Rock III, Joey Greco and the In Crowd, the Crests, the Shaggy Boys, Terry Knight and the Pack and Brian Hyland.
Besides the Action House, the Innkeepers played at Danny Mazur’s My House in Plainview NY, the Malibu Beach Club in Lido Beach, the Bull Shed in Huntington, Cinderella in Greenwich Villlage, the Shindig Lounge in Lynbrook, and regularly at The Busted Buzzard in Baldwin, NY.
The group was sometimes billed as the Inkeepers (one “n”) and the band name appears that way in one promo photo.
The Inkeepers, from left: Steve Saltzman, Mike Vendetti, Mike Lucente, Vito Turso, Gary Matson
Salem copyrighted “Wanted” with the Library of Congress in August 1966, following it up with “Never Should Have Done It” in October, both with publishing by Leona Music Pub. Co., but on the Galiko single both list Aurora Music Pub. BMI.
The Library of Congress index shows Leon Salem copyrighting six additional titles before the end of 1966, “What Do You Find?”, “All the Time”, “Venetian Gondola”, “Reasons”, “The Truth”, “Come Back, My Baby”, though only the first of these also had the Leona Music Pub. Co. credit.
With such an accomplished group of musicians, I hope there are some unreleased Innkeepers recordings out there, yet to be heard.
Galiko had a number of other releases, most notably the U.S. Stamps, who had two singles on the label in 1967, “Come On” / “Go and Dry Your Tears” and “Pull the Wool” / “We’ll Find a Way” (by Ed Landis). I don’t know anything about that band either.
There is a Leon Salem who has a number of credits: arranger and conductor on Nanette Natal’s 1969 album Yesterday, Today, Tomorrow , “sweetening” on the Tokens “I Like to Throw My Head Back and Sing (That Good Ole Rock and Roll)”, vibes and orchestration on the Brother to Brother LP Shades In Creation, and in 2018, production and writing of “Apollo Rising” by Tommy LaBella. I’m not sure if this is the same person, however.
Thank you to the members of the Innkeepers for help with this post: Gary Matson for sending the photos, and Mike Lucente and Vito Turso for information about the group.
This Innkeepers should not be confused with the band from Lewiston, Maine, whose demo “Traella (Hey Babe)” surfaced years back.
mistaken first label with studio owner Vincent Oddo’s name as artist
Bill DeFalco – lead guitar Frank DeFalco – rhythm guitar Jimmy DiGiacomo – bass Joey Erico – drums
Brothers Bill and Frank DeFalco had a previous group called the Rock Monacles with a different drummer, Henry Bauman and vocalist George Malin. In the summer of 1967 the Pebble Episode went to O.D.O. Sound Studio on West 54th Street in Manhattan to record two songs, “Tripsey” (by William DeFalco, Frank DeFalco) and “The Plum Song” (by William DeFalco, Frank DeFalco and James DiGiacomo). Publishing by Mozella Music BMI, and produced by S. & J.
Juggy Murray of Sue Records signed the group to J-2 Records, his new label as Sue was sliding into bankruptcy to be sold to United Artists around 1968.
Artist name corrected, song now spelled “Tripsy”
To compound the problems Murray had with Sue at the time, the first pressing of this 45 was mistakenly labelled with Vincent Oddo’s name, the engineer and owner of the ODO studio where the band recorded, but most definitely not the artist! New labels were printed up with the correct band name, though this time the A-side was spelled “Tripsy”.
“Tripsy” is an apt name for this wild instrumental loaded with echo and repeating riffs that wouldn’t be out of place on The Inner Mystique. By comparison, “The Plum Song” is much more conventional in sound, dominated by Bill DeFalco on organ and Joe Erico’s fine drum fills.
This was the first release on J-2 Records followed by Baby Washington doing “Like a Rolling Stone” (I’d like to hear that version!) b/w “The New Yorker” (J2-1301) and the Poets in-demand soul classic “Wrapped Around Your Finger” / “Can’t Wait Until Tomorrow” (J2-1302).
The Pebble Episode continued until 1972, with home recordings I haven’t heard but no further releases.
More info is in the comments to the Discogs page for the single.
Sorry for the atrocious condition of the labels for this post, but if you have a better high-resolution scan of Tripsy, please send it in.
Daniel Lane (Danny Lutzky) – guitar Richie Winston – 6 and 12 string guitar David Knopf – bass Lloyd Goldberg – drums and lead vocals Eddie DiBiase – harmonica
I was very excited to track down a copy of this 45 only find it to be in nearly unplayable condition – if anyone has a nice spare please contact me!
Mustache Wax came from the Bronx, in Riverdale. This was the last of several lineups and band names they used before breaking up after high school. They recorded the 45 in a studio on 42nd St.
Eddie DiBiase came from Queens and was the connection to Inner Records, though I can’t find any other releases on that label. Eddie wrote the top site, “I’m Gonna Get You” published by Luv Music ASCAP.
I also like the flip, “On My Mind” alternately somber and quick, written by guitarist Danny Lane for Philonic Music, BMI.
The 45 was produced by Epstein-Schwartzberg, yet it’s also “A Vitale-Eden Production”.
Joey Levine wrote “Try It” for the Standells and went on to compose, produce and sing on numerous pop hits for the Third Rail (including “Run Run Run” and the excellent flip “No Return”), the Ohio Express, Jet Stream and other acts. Before the hits came this one-shot record as Joey Vine, released on Hercules Records in the U.S. and Immediate in the U.K.
I’d like to know who was backing him on these songs. Though likely studio musicians, the group has a sharp garage sound on “The Out of Towner”, with a catchy guitar hook, solid drumming, and good harmonica fills. Vine gives a good vocal on the A-side, then does a close Dylan imitation on the flip, “Down and Out”.
Though Joey Levine wrote both songs, Gallico Music published “The Out of Towner” while Pentagon Music BMI published “Down and Out”.
Hercules Records had three singles, all in 1965, all produced by Charles Calello and distributed via Jamie/Guyden. Besides Joey Vine’s there were also Hercules 101, the Victorians “C’mon Dream (Chris Andrews) / “Catrina” (Donnie Frio) and Hercules 102, Joy Leonard “Baby I Wanna Back Track” (Lou Christie, Twyla Herbert) /”Don’t Feel Sorry For Me” (Rosemarie McCoy, Dorian Burton).
Of these three only Joey Vine’s was licensed for release in the UK by Immediate in October, 1965. How that happened is uncertain – the only other Jamie/Guyden product to be picked up by Immediate was a Barbara Lynn single whose r&b sound would have obvious appeal in England.
There are two garage 45s in these lists, Shep & The Downbeats “Girl, Girl” / “You’re Never There” on the Roulette-distributed Satin label from NY, and Gary & Kyle “Stay With Me” / Smaller Than You” from San Antonio.
Any help with completing these discographies would be appreciated.
I could also use good quality scans of the San Antonio label 45s, and of the Adophus Bell
1st pressing distributed by Roulettelater West Coast pressing
New York:
All labels read “Exclusively distributed by Roulette Records” except for a green label with plain black text version of S-400, Annabelle Fox’s “Getting Through to Me”, which Mike Markesich states is a West Coast pressing and not the first issue.
The first three releases come in promo white label and two-tone green labels. 402 and 403 only seem to exist with promo white labels.
Satin S-400 – Annabelle Fox – “Too Good to Be Forgotten (Bell 40,004) / “Getting Through to Me” (mastered at Bell Sound 40,002) Satin S-401 – Al Hibbler – “Good for a Lifetime” / “Once Before” (Bell Sound 40,005) Satin S-402 – Annabelle Fox “Lonely Girl” / “Humor Me” (Bell Sound 40,003) Satin S-403 – Shep & The Downbeats – “Girl, Girl” / “You’re Never There” (both by Ted Kobran) (produced by Rama Wilson Associates, Bell Sound 40,009/10)
All except Shep & the Downbeats produced by Teddy Rendazzo, and published through South Mountain Music, BMI.
Most of the Rendazzo produced 45s have song writing credits to some combination of Rendazzo, Bobby Weinstein, R. Allison and L. Stallman.
Kurt L. sent me the scan of Shep and the Downbeats. Kurt remembers hearing that the band won the WABC Battle of the Bands, with a recording contract with Satin being the prize. The group played at Martin Van Buren High School in Queens Village, and likely were students at that school. The only name I can find in connection with the group is Ted Kobran.
Teen Beat Mayhem says the band was from Union City, New Jersey and gives a release date of August, 1966. Although “You’re Never There” rates higher than the flip in TBM, I think “Girl, Girl” is the better song.
Shep & the Downbeats has a “Rama Wilson Associates” production credit. This should read Ramal-Wilson, as in Bill Ramal and Marty Wilson. They had previously produced singles for Diamond.
A notice from Billboard’s October 22, 1966 issue states”new artists added to Ramal-Wilson Associates are Shep and the Downbeats, the Upper Crust, Gary Criss, Bruce Bruno and Carole Colby.”
Another Billboard notice from May 21, 1966 mentions Ramal-Wilson Associates producing the Ramblers on Red Bird and the Perfect Strangers on Capitol. “All sides were arranged by Joe Scott, staff arranger for Ramal-Wilson.” However, I’m not aware of any releases by these other artists.
New York (probably no connection to the later Satin label, above):
Satin 921 – Rhythm Rockers featuring Johnny Serrano – “Oh Boy!” / “We Belong Together” (Norvojak Music BMI) (October 1960)
New Orleans:
Satin 2-100 – Tammy McKnight – “What’s Her Name” (E. Darder – Allen Orange) / ? (SoN 1591, Chavis Music BMI, A Hi-Liter Production) Satin 2-101 – Al White & The Hi-Liters – “Johnny B Goode” / “Let That Guitar Roll” Satin 2-102 – Alex Spearman – “Mama-ka-toko-laka-poo-poo-yay” (L. Bonds) / “On Our Wedding Day” (Emelda Music BMI, SoN1561))
San Antonio, Texas:
Owned by Emil Henke, who also owned Warrior and part of Harlem. Mr. Henke passed away on February 22, 2002.
pink label with ribbon “S” in Satin. 411 S.W. Military Dr., San Antonio and “Emil J. Henke Production”:
Satin SA-001 – The Satin Kings – “Let’s Go, Let’s Go” (Ballard)/ “Matilda” Satin SA-002 – Charlene – “Rock Bottom”/ “Let’s Try Once Again” Satin SA-003 – The Mavericks, vocal: Moe Bandy – “Lonely Girl” / “Too Many Times Before” Satin SA-004 – The Trochais – “Give Me An Answer” / “Phantom” (both by Francis Akeroyd, 1966, B-side is a surf instr) Satin SA-005 – The Mavericks, vocal: Moe Bandy – “What Would You Do” / “As Long As There’s A Chance” Satin SA-006 – Satin Kings – “Mil Veces” / “Echale un cinco al piano” Satin SA-007 – Gary & Kyle – “Stay With Me” / “Smaller Than You” (both by Gary Young, Satin Music Pub SESAC, June ’66, duo from Poteet, TX) Satin SA-008 – Bailey Anderson – “Folsom Prison Blues” / “They’ll Never Take Her Love From Me” (6-66 1) Satin SA-009 – Moe Bandy & the Mavericks – “You’re Part of Me” / “Hey There My Friend” Satin SA-010 – Paul & Chuck – “House Of Blue Lovers ” / ? Satin SA-011 – Playboys – “Dame Licencia” (Hazme El Milagro) / “Nomas Por Quererte” (7-66-2) Satin SA-012 – ? Satin SA-013 – Playboys – “All I Do Is Cry” / “Little Playgirl” (Robert Suarez) 8-66 PB-3/4
pink label with a script “Satin” and no ribbon:
Satin SA-014 – Bailey Anderson & the Satin Gentlemen – “What Will The Answer Be” (Dayton Smith) / “The Satin Gentlemen” (1066 BA 4) Satin SA-015 – Playboys – “Falling In Love With You” / “Let Them Talk” (Joe Seneca) (LH-2836/7, December 1966) Satin SA-016 – Conjunto Los Navegantes – “Te Fuiste” (Rosendo Torres) / “Navegando” (Adolf Garcia) (167-CLN-1/2, LH-2876/7 “Spanish Series” Satin Music Pub)
stylized Satin logo on left with two lines above and below:
Satin SA-021 – The Ones – “Sure Gonna Miss You” (often marked up to read “Sure Gonna Miss Me”) / “What’s It Like To Be In Love” (LH-3299, 1967)
Satin SA-024 – Jimmy Payne, The Country Boys – “Standing at the End of My World” / “A Wound Time Can’t Erase”
two-tone label with Satin Records in box (except for SA-028 which reverts to the original ribbon S):
Satin SA-025 – The Lively Set – “Soul Diggin'” / “Blues Get Off My Shoulder” (vocal by Earl Adams)
Satin SA-027 – Jim Faber – “Just for a Moment” / ? (country) Satin SA-028 – The Casino Royal – “Don’t Mistake Me for a Fool” (D. Cruz, T. Zamudio) / “Return Of The Prodigal Son”
Satin SA-030 – The Three Dudes – “Sad Little Boy” / “I’m Beggin’ You” (Jan 1968, group aka Four Dudes, Images) Satin SA-031 – Michael Lord – “(Life’s a Ball) Lovin’ It All” (H.M. Byron) / “Its Only Make Believe” (Twitty)
Satin SA-033 – Nat y Los Music Makers – “Una Eternidad” / “Por Ultima Vez”
Satin SA-035 – Bailey Anderson – “The World’s Youngest Naughty Old Man” / “There Goes My Everything” (1969)
Satin SA-037 – The Satin Souls (vocal by Madison Mitchell) – “Gimme Some Lovin'” / “I’d Rather Go Blind”
Satin SA-041 – Michael Lord & the Romainaires – “St.James Infirmary” / “Take Five” (1969)
Satin SA-047 – Clique Camarilla – “The Ride” (Donny Leavitt) / “The Hello Song” (Prod. by M. Montgomery for Sabra Prod., Riviera Music BMI, 4-69-1)
Satin SA-061 – Ty Lemley – “Ramblin’ Ways” / “One Day at a Time” (country 45)
The Casino Royal is the same group as the Casino Royale on Key-Loc.
Pennsylvania (?):
Satin SAT-1111 – Adolphus Bell & the Up Starts – “Black Eye Peas” (C.A. Bott, W. Hutchingson, Joy Boy BMI) / “Lafin Gas” (C.W. Powell, D. Bell, S. Godfrey, Cevet BMI) (1031-45-SAT1111)
Blues Art Journal has an article on Adolphus Bell but the author seems unaware of this recording.
Plainview, Texas:
Satin RHB-1120 – Harry Bray & the Wheels – “I Lost My Love” b/w “Way Down South in San Antonio” (SoN 84892) country with drum machine!
Ogdensburg, NY:
Satin SR-561 – The Four Satins – “Drop Off” (Larry Costigan) / “Hip Hop”, possibly Jimmy Massia lead vocals (see this post on Utica entertainment for a little more info)
There was also a Satin label out of Washington state in the 1970s that had a 45 by the Main Attraction.
Thank you to Max Waller, Kent Chatellier, Michael Recendez, and Martin Hancock for their additions to this discography, and to Max for the Gary and Kyle scans.
Kevin Longendyke sent in scans and transfers of a demo cut by Sound Incorporated at Broadway Recording Studios, 1697 Broadway, NY. Kevin wrote, “I found it in Harrisonburg, Virginia. The owner of the store used to have a shop in Georgia somewhere. So they could from anywhere I guess.”I have no info on the band, other than that someone has written on the labels the names Chris, Bob, Dave, John and Joe. The overall sound is poppy, commercial and well-produced. Both songs are good and either could have had some success as a single.”I Love That Girl” starts off fast and upbeat, but has a slow middle passage.
“Love Is a Gamble” has a good, if familiar hook and interesting bridge.
This site is a work in progress on 1960s garage rock bands. All entries can be updated, corrected and expanded. If you have information on a band featured here, please let me know and I will update the site and credit you accordingly.
I am dedicated to making this site a center for research about '60s music scenes. Please consider donating archival materials such as photos, records, news clippings, scrapbooks or other material from the '60s. Please contact me at rchrisbishop@gmail.com if you can loan or donate original materials
pink label with a script “Satin” and no ribbon:
