Sunshine Reigns came from Crowley, Louisiana. Members included:
Burton Mader – lead vocals, guitar (?) Kyle Jones – organ Mark Miller – bass Danny Foreman – drums Mike Perry – 12 string guitar
They cut a single in 1968 or 1969 on mbm PRODUCTIONS No. 1946. Keyboardist Kyle Jones wrote the languid A-side, “Laura (Is the Girl)”. The flip is Danny Foreman’s song “Acelia Dulfin”, a warning about a girl with a cool spoken introduction.
A comment on Discogs gives the full names of the band, and that they won “the Crowley High talent contest in the late 60s.” Another mention of the band being from Arlington, Texas seems far-fetched, as Arlington is 400 miles away from Crowley.
Anyone have a photo of the group?
Mike Miller, son of legendary studio owner J.D. Miller of Crowley ran MBM Productions, putting out these four singles around 1968-1971:
MBM Productions 1945 – Maximus and His Projectors – “A Thing Called Limericks (part 1)” / “Bang Bang Lou Lou” (labeled Not For Broadcast!) MBM Productions 1946 – Sunshine Reigns – “Laura (Is the Girl)” / “Acelia Dulfin” MBM Productions 1947 – 49th Blue Streak – “Fire” / “Foxy Lady” Bulb Record Co. 101 – Sorce – “Tomorrow Won’t See Me” (G. Duhan) / “Courthouse Massacre” (a Division MBM Productions of Crowley Louisiana, MBM Music, BMI)
Hamilton Productions, run by Bill Hamilton in Philadelphia, Pennsylvania, produced several garage singles with different label names including:
Sands of Time – ”Come Back Little Girl” / “When She Crys For Me” Stearly 8167, August 1967) Satyrs – “Yesterday’s Hero” (C. Morrill, G. Williams) / “Marie” (M. Doerr, C. Merrill) Spectrum 2668, released 1968, Haddonfield Heights, NJ) Groop Therapy with Gary Dial “I’ve Got To Leave This World” (Gary J. Dilllio) / “Ronnie Ronnie” (Lisa 6865, June 1968, Ripley Park, PA)
Hamilton also put out a number of singles, mainly soul, on the Groovey Grooves label starting in 1968, including the Exceptions “The Look in Her Eyes” and Phillies player Rich Allen and the Ebonistics doing “Echoes of November”.
Groovey Grooves discography any help with this would be appreciated
Groovey Grooves 160 – Rich Allen and the Ebonistics “Echoes of November” / “Fannari” Groovey Grooves 161 – Exceptions “The Look in Her Eyes” / “Baby You Know I Need You” (Hynes, Walker, Ellis, Jones, arr. by Bob Lowden) Groovey Grooves 162 – Collectors “Cruel World” / “I Still Love You” (March, 1969) Groovey Grooves 163 – Isthmus of Sound “River” / “Sweet Love” Groovey Grooves 164 – Stone Dawn “Agent Promise Blues” / “What You Think Is Right” (both by Penny Stubbs, Assoc. prod Bill Hoy) Groovey Grooves 165 – ? Groovey Grooves 166 – Norwood Long “I’d Like to Have You” / “She Belongs to Me” Groovey Grooves 167 – Exceptions “The Shagg” / “Danny Boy” Groovey Grooves 168 – Great Compromise “Let The Evening Roll On” / “He Was A Man” Groovey Grooves 169 – Les Stewart, Jr. “One Woman Man” / “Mind Your Own Business” Groovey Grooves 170 – Fairwinds “She & Me” (J. Swank, R. Smith) / “Height in Funland”
Groovey Grooves 176 – Fantastic Soul-Locks “Come On Home Girl” / “Funky Prance”
The Exceptions recorded at Impact Sound Recording Studio on Castor Ave in Philadelphia, while Stone Dawn recorded at Baker Sound in New Jersey.
Folsom Music, BMI published many of the original songs on Groovey Grooves.
Klemen Breznikar has an interview with one of the members of Stone Dawn at It’s Psychedelic Baby!. The piece doesn’t identify which member he interviewed but I believe it’s George Manney.
Thank you to Laurent, Max Waller and Mike Markesich for help with this post.
The Sound Track are another unknown group, probably from the area around Kingsport, Tennessee, more than four hours east of Nashville.
Their first single has two cover songs, including one of the best versions of the Music Explosion’s “I See the Light” (E. Chiprut) b/w “Groovin’”. It came out on Trail Records TSRC-1706 in November 1967. It’s a Rite pressing, #20781/2, account #400.
Trail Records came from Kingsport, TN, and had many other releases, mostly gospel. Early releases such as the Grim Reapers “Under My Thumb” / “See See Rider” (Trail TSRC-1702) have a diamond logo and list Tri-State Recording Co. and 1767 Fort Henry Drive. Some later releases such as the Downbeats “Pain” / “Got To Get You Into My Life” (Trail SRC-1736) have a rustic logo with pine trees and “Trail” spelled out in wood logs.
Over a year later the Sound Track put out their second single, this time featuring two band originals. “Face the New Day” has distorted guitar riffs repeating throughout, and solid backing of organ, bass and drums. It sounds almost like an English freakbeat track. Ron Allgood and Jerry Melton wrote the song, they were probably members of the band.
The flip “People Say” is also good, and the composer credits give six names, probably most of the band: Ron Allgood, Jerry Melton, T. Melton, Layton Bentley, Kim Dillard and B. Richmond. Copyright records give B. Richmond’s full name as Randy Richmond. The release came on Action 101, with the codes WS 1000 and PRP 7731/2.
The Sound Track went to Nashville to make their Action single. It was produced by Hoss Linneman and Al Gore, two country musicians with many recording credits to their names. Washington Square Music, BMI published both songs. This was a very rare single until 15 or more copies turned up in August, 2016.
The Rogues recorded two singles on Regan Records circa 1968-1969. They seem to be from Michigan, and the “Capital City Music” publishing on the one original song they recorded may refer to Lansing.
Their first 45 has good versions of Bob Seger’s “Heavy Music” b/w” a cover of “Born in Chicago”, released on Regan R-0021 with IRM #1039.
The second single has an original song, “Something Called Humanity”, written by Bill Goik and Richard Jantz. Publishing by Capital City Music BMI, released on Regan R-0022, with IRM-1067. This was the flip to a version of “Summertime”.
If anyone has a scan or sound clip of “Something Called Humanity” please contact me.
Steve Donahue produced both singles, the second has a credit to Don Kemp for engineering. I can’t find their names in connection to any other releases, nor can I find any other releases on this Regan Records label.
Other members of the band included Rick Brunson – drums, and Dennis Parker – keyboards.
This copy of “Heavy Music” came from the collection of David Martin, with special thanks to his family.
Many bands tried their hand at “Louie Go Home”, an original by Paul Revere and Mark Lindsey released as Paul Revere & the Raiders’ second Columbia single, “Louie Go Home”, in early 1964.
Some of the best versions are the Mussies of South Haven, Michigan who cut it on Fenton, the Fugitives of San Antonio on Alamo Audio, and the Missing Lynx of Lawrenceburg, Tennessee, who have it on the flip of “Hang Around” on United Sounds 100.
One of my very favorite versions is by the Chambermen, a sextet from West Valley High School in Spokane, Washington. Their version of “Midnight Hour” on the flip is good too.
Lanny Beck wrote to me with information on the band and the photos seen here:
We started playing together in 9th grade, winning a talent show contest, which encouraged us to continue through high school. Don Hines [lead vocals, rhythm guitar] was with us in the early years along with Pat Teague – bass player. Steve Myers joined our band shortly after Steve Mauss, sometime around ’66 or ’67. Jim Reiter later replaced Pat. The members of the band: John Conant, drums; Jim Reiter, bass and lead vocals; Steve Mauss, saxophone and lead vocals; Steve Myers, keyboard; Lanny Beck, lead guitar.
We won the Spokane Battle of the Bands in 1967 and recorded “Louie Go Home” and “Midnight Hour” at Spokane Recording Studios. Steve Mauss sang lead vocal on both sides of our record. This was the only record that we made, which was promoted by the local radio station, KJRB, for winning the battle of the bands. We played at many high school and college dances throughout the Spokane and north Idaho region.
I assume production on the record was by Larry Wacholtz of 4111 Willow in Spokane, whose name is on the label.
John Conant and Don Hines have since passed away.
Thank you to Lanny Beck for answering my questions and providing the photos included here.
The Del-Fis formed in Bethesda, Maryland in 1964. Members were:
Craig Brown – lead vocals Steve Brust – lead guitar Bob Swain – rhythm guitar Budge Witherspoon – bass Jim Callas – drums
Fifi Gorska penned an article on the band for the Teen section of the Washington Evening Star on Saturday, May 29, 1965. The article has some great quotes from Bob Swain: “they talked in Greek, but we played in rock” (when the band appeared on WPIK’s Greek show), and his description of singer Craig Brown making up new versions of nursery rhymes, “sentences like a barrage of multiple karate chops to the left pancreas, each one more devastating than its predecessor” [what’s the left pancreas, anyway?]
There’s also a list of their cars (Model A, Ford Mustang, 442 Olds and Chevy II) and mention of girls wearing the Del-Fis name on their “swamp” coats (long rain coats, a fashion fad in 1964).
At the time of the article, Craig Brown, Bob Swain, Jim Callas were students at Walter Johnson High School; Steve Brust and Budge Witherspoon attended North Bethesda Junior High School, all were between 14 and 16 years of age. Their manager was Toby Long, a fellow student at Walter Johnson.
In August of 1965, the band went into the studio to record two original songs for Lillian Claiborne’s DC Records. Craig H. Brown and Steven N. Brust copyrighted both songs in August, 1965. The great side is “Now It’s Time” with it’s chiming guitars, excellent rhythm section and perfect teen vocals.
The flip is “Without You”, a harmony ballad with a finely picked melody, a good one for the slow dance, I guess.
DC Records released this with two label colors: yellow and the pink/fuschia seen here. The article says they did away with the apostrophe in Del-Fi’s but there it is on the label.
I found the article at top 12 years ago while scanning through the microfilm of the New York Public Library, but hadn’t put it together with the band on the DC single until now. If anyone has a better quality photo please contact me.
The Shanels came out of New Haven, Indiana, a town just east of Fort Wayne. The only band member’s name I can find is Marvin Larue, who wrote both songs on this single. “Why Did I” is a stomping Stones-influenced song with harmonica wailing throughout.
The band changes instruments for the ballad flip, “I Really Care For You” utilizing 12-string guitar and organ instead. Vocals are sung in unison for both songs.
West Haven Pub. Co published both songs through BMI, where I found M. Larue’s full name. Timothy Cox of 60s Indiana Band Szene wrote in a comment on Artyfacts in Wax that “every ‘West Haven’ publishing I’ve seen, and I’ve seen a few, is from Ft. Wayne Indiana. Surf Suns, Olivers, Chessmen, and Blues Inc, all shared this.”
From an online obituary, it seems that Marvin LaRue passed away on September 26, 2004 in Minnesota. In 1963 he graduated from New Haven High School and then attended Purdue University.
According to Teen Beat Mayhem, the record dates to February 1965. The number “SS-3886” indicates a pressing by Stereo Sound in Chicago.
Billy Sandlin came from Ocala, Florida, starting his recording career in 1959 with the tough-sounding “She’s Mean” b/w “Don’t Let Me Down”, released first on Vim Records then on Gala. From the start he showed an ability to sing a wide range of styles, from uptempo rock to melancholy ballads.
In 1961, Sandlin had a second single on Gala, “Teenager’s Dream” in a slow doo-wop style b/w the latin-ish “Cha Cha Bop”. Around 1962 he left for Germany, presumably for military service.
Overseas he cut a neat rocker called “My Little Twisting Baby” with a local group known as the King-Tones, but it wasn’t issued until he returned to the U.S. in 1963, as Billy Sandlin with the Strangers and the Bluetones on Strike Records.
Next came a single on Viking Records, “You’ll Always Have Someone”, produced by Larry Montague and still very much in a teen style, released circa 1964, though I could use confirmation of that date.
In 1966 he found a tougher accompaniment by the Interns for the fine “Poor Rich Girl”, especially in the repetitive guitar line, and Sandlin’s voice really suits this hard r&b style. The b-side “Here Comes That Feeling” is very good downer garage. My copy is on Royale 1966.326, but others exist with the label name changed to Royala, which would match his next single.
Later that year came Royala 1966.329, “I Kept On Walking” written and sung by Billy Sandlin with ‘the Interns Orchestra’, b/w “Sweet Loving”, sung by Ace Perryman and written by Stewart and Perryman. I haven’t heard either song yet. “I Kept On Walking” was also the b-side of Sandlin’s single on Viking. This single and “Poor Rich Girl” both credit Jack McGowan for management.
Jack McGowan owned the Teen Time Club in Ocala, according to a short article in the Ocala Star-Banner from 1967, and I think Royala/Royale was his label. I believe he is the same Jack McGowan who produced the The Great Masquerade, also known as The AC/DC Caper, filmed in Miami in 1973.
The Sounds of Sandlin, from left: Henry Rawls, John Tabor, Andy Facundus, J.W. Howell, and Billy Sandlin
Circa 1969, Billy Sandlin was the singer on two demo acetates recorded at National Guild Recording Studios as Sounds of Sandlin.
John Tabor sent in the photo seen here and gave the lineup of the group:
Henry Rawls – vocals & trumpet John Tabor – vocals & lead guitar Andy Facundus – bass guitar J.W. Howell – drums Billy Sandlin – vocals & rhythm guitar
“Come on Up to My World” and “Dream Train Ride” are solid psychedelic numbers, while “Sunshine” is a quiet ballad in a folk or country-rock style, and “I Need You” has fuzz guitar but is more of a pop song. All four songs feature two vocalists singing each line of verse.
National Guild Studios were located in Orange City about an hour and a half east-southeast of Ocala. I’ve heard clips of both thanks to Jameson Sweiger, who took the photos of the acetates seen here and gave me some background on them.
The acetates came from Larry Montague, who produced Billy’s single on Viking.
Jameson wrote: “Larry had a full album from the sessions of these 45s that was to be released but shelved after his death and never released. Larry had the original reel to reels when I met him. Sandlin apparently was in movies or working on movies at the time of these 45s.”
Sandlin next joined with Barry Winslow of the Royal Guardsmen for a single on Mega, “Have You Seen a Rainbow Lately” / “Peace Time” that got a good mention in Billboard in November, 1971.
Billy Sandlin also recorded two songs I haven’t heard, “Turn Me On” / “Country In The City” that exist on a Capitol custom 8″ demo, I’m not sure of the year.
Tragically, Billy and his wife Melinda were killed when their car was hit by a drunk driver fleeing the police in Ocala in February, 1973.
Billy Sandlin discography:
Vim Records 1006 – Billy Sandlin – “She’s Mean” (Sandlin, pub. by ThreeWay BMI) / “Don’t Let Me Down” (1959)
Gala Records 45-110 – Billy Sandlin – “She’s Mean” / “Don’t Let Me Down” (1959)
Gala Records 45-115 – Billy Sandlin – “Teenager’s Dream”/ “Cha Cha Bop” (Sandlin) (1960)
Strike Records S-103/4 – Billy Sandlin with the Strangers and the Bluetones – “My Little Twisting Baby” (Sandlin) / Billy Sandlin and the Strangers – “My Little Star” (P4KM-5346), recorded in Germany with a group also known as the King-Beats, but issued in the U.S. circa 1963.
Viking Records 1001/2 – Billy Sandlin and the Embers – “You’ll Always Have Someone” / “I Kept on Walking” (Sandlin, pub. by Montague Music), produced by Larry E. Montague
Royale 1966.326 – Billy Sandlin with the Interns – “Poor Rich Girl” / “Here Comes That Feeling” (1966) prod. by Jack McGowan
Royala 1966.329 – Billy Sandlin with the Interns Orchestra – “I Kept On Walking” / “Sweet Loving” (sung by Ace Perryman), 1966
Mega 615-0044 – Winslow & Sandlin – “Have You Seen a Rainbow Lately” (Barry Winslow-Barry Sandlin) / same (1971)
Unreleased demos:
Sounds of Sandlin – “Come on Up to My World” / “Sunshine” (National Guild Recording Studios demo, late ’60s) Sounds of Sandlin – “Dream Train Ride” / “I Need You Girl” (National Guild Recording Studios demo, late ’60s) Billy Sandlin – “Turn Me On” / “Country In The City” (Capitol Custom 8″ acetate disc, date unknown)
I mentioned the Xanadus when I wrote about Angelus Records, a label for Christian music based out of Lorin Whitney’s studio in Glendale. The Xanadus first single was on Angelus, even though it was not a religious record. On hearing their second single recently, I decided the Xanadus deserve their own entry.
Their first single, “Before the Dawn” features a basic ensemble of lightly-amplified guitars, tambourine and harmony singing. “Little Girl” is a ballad, even more low-key than the A-side. Both songs are on youtube but not in great sound quality. It came out on Angelus WR-4442, and then the band reissued it on their own Encore label with the same catalog # 4442.
There are only a few instrumental or pop releases on Angelus. The Xanadus single is more pop in style and subject matter, but it’s so light and innocuous it doesn’t clash with the typical Angelus subject matter.
However, there’s no way Angelus would allow the band to use the label for their second 45, the salacious and amazing “You Turn Me On” / “Bankrupt Bothered & Bewildered”, released on Encore 4443. These are sharp, cutting rockers, with good guitar breaks. “Bankrupt Bothered & Bewildered” sounds like it was recorded live, shouting and hooting in the background.
Photos in the videos are different bands.
Angelus WR-4442 – “Before the Dawn” (Boyd & Adams) / “Little Girl” (Wray) produced by J & R Productions Encore 4442 – Xanadus – “Before the Dawn” (Boyd & Adams) / “Little Girl” (Wray) (WR-4442-45) released Feb. 1965 Encore 4443 – “You Turn Me On” / “Bankrupt, Bothered & Bewildered” released April 1965
Both Encore releases have publishing by Shat-Shep Music BMI.
At this time I know nothing about the band.
The Shat-Shep Music credit shows up on at least a couple other singles of the period. One is Gail Da Corsi – “I’ve Lost In Life” / “Touch Of Yesterday” on Dolton 314. The other is the Universals “I’m In Love” / “A Love Only You Can Give” on Shepherd SR 2200, a doo-wop style 45 from 1962.
Another Shepherd release, though without the Shat-Shep credit is Ritchie Marsh “They Say” (Pat Vegas, R. Marsh, pub. by Debutante Music) / “Darling I Swear That It’s True” on Shepherd SR-2203. Ritchie Marsh is better known as Sky Saxon.
The Shepherd label came out of Hollywood.
Thank you to Dan Peterson for the scan of the Angelus 45. If you have better scans of the second Encore single, please contact me.
The Front Office single on Mijji seems to be a combination of two different recording groups. The A-side “Girl” is polished, Motown-type soul, written by Steve Cook and arranged by Val Garay (who would go on to engineer and produce many high-profile acts in the 1970s and ’80s) and Mark Holly.
The instrumental flip side is something else altogether. “Wow” is first-rate psychedelia done by a band who knows what they’re doing and don’t hold back. The song writing credit goes to Gilbert Day, who is also credited as producer with G. Zacharisen (possibly George Zacharisen). Satori Music, BMI published both songs, released on Mijji M3007 in 1968.
Beyond those names, the identity of the musicians on “Wow” is a mystery. This was the last release on Mijji, which had a handful of other singles. Sound 70 had two singles on Mijji:
Mijji M-3002 – Sound 70 – “There Is No Reason” / “Seven Day Fool” Mijji M-3004 – Sound 70 – “One Too Many Mournings” / “Chicago Blues”
Day-Gardner-Brown produced both singles, and other than song writing and publishing credits for the cover songs, “Seven Day Fool” and “One Too Many Mournings” (sic), there are no other names on the labels. Sound 70 played live around San Mateo, Belmont and San Carlos, California, adjacent towns on the peninsula between San Francisco and San Jose. Sound 70 seems to have come out of the Bundles, whose songs “Mark My Words” and “Watch Me Girl” went unreleased at the time but now appear on the Big Beat CD Dance With Me: The Autumn Teen Sound.
Judging by “There Is No Reason” and the heavy drums on “One Too Many Mournings”, Sound 70 had the ability to cut a track like “Wow”, but that’s only speculation.
The only other single on Mijji that I can find is by the Venus Flytrap:
Mijji M-3005 – Venus Flytrap – “The Note” / “Have You Ever” (both by Donald Danielli – Daniel Sanchez, prod. by Gilbert Day, published by Guard Music, BMI)
The original release came on Jaguar Records J-103, owned by Barry Wineroth. It was a hit in the Santa Barbara area, but the Redwood City band also had a following in the South Bay, which may be why Mijji repressed it.
If anyone has more info or photos on the bands, please contact me.
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
Sunshine Reigns came from Crowley, Louisiana. Members included:
