early photo of Homer, clockwise from top: Chet Himes, Pat Cosgrove, Galen Niles, Gary Crapster and Frank Coy
Homer was a group from San Antonio that would last from June of 1968 until about 1973. In Houston they would record three singles and an LP for URA Production (Universal Recording Artists).
The first press on the group that I can find comes from August 8, 1968 the Crystal City Sentinel ran a profile of the group by Margaret Anderson in her column, The Teen Scene:
… “Homer” has a really unique sound and the guys said that they plan to bring blues into Texas and prove that rock and roll isn’t “rinky-dinky”, but is something we can musically appreciate. The group seems to be striving for individuality among the many groups of today, rather than being just another band. All of the members of the group have been together for only two months and are all from different original groups.
The leader of the group is Galen Niles. He toured with the “Outcasts” … all through the East Coast, sings lead, and teaches music. The drummer is Pat Cosgroove [sic – actually it was Gary Crapster, Pat played guitar I believe], who won 1st place in International Drum Solo Contests. He has played in many major citys of the United States…
Other members are Frank Coy, Chet Hines, and Gary Crapster, who is also a music teacher. Kids in Crystal City look forward to having them back again for a dance in the near future.
At this early point in 1968, members were:
Frank Coy – vocals Galen Niles – lead guitar Pat Cosgrove – guitar Chet Himes – bass Gary Crapster – drums
Galen Niles has a stellar history in San Antonio music. He played on both the Pandas “Walk” / “Girl from New York City” on Swingtime and the Outcasts “1523 Blair” / “Smokestack Lightning” before joining Homer. He also played the solo on the Mind’s Eye “Help I’m Lost” (Steve Perrone – Luis Cabaza) on Jox (but not on the flip, which was taken from a single under their earlier incarnation as the Argyles).
Ron Houston wrote in the San Antonio Express and News on February 9, 1969:
… I sat ringside at the Web in Corpus Christi diggin’ the band playing a song called “Hi Ho Silver Lining.” It wasn’t Jeff Beck I was looking at. It was “Homer,” the band I had booked for Ray Schaff at the Web.
Frank Coy wrote the A-side of their first single, “Dandilion Wine”, (note spelling – not “Dandelion”) backed with a radical reworking of “I Never Cared for You”, which I would never have guessed was a Willie Nelson song if I hadn’t seen the credit on the label. It even uses “Hall of the Mountain King” in the break.
Their next single had two originals by Galen Niles, “On the Wall” / “Texas Lights”, published by Illiad Music.
Their third single had another Galen Niles composition, “Sunrise”, with a repeat of “Dandilion Wine” on the flip.
Homer at Sun Valley Ballroom on Friday, July 25, 1969 with Ron Houston, KTSA DJ, from the Victoria Advocate.
In September, 1969, Homer were one of the bands represented for booking by Fun People, Inc. at 4807 West Ave in San Antonio, along with the Laughing Kind, the Bubble Puppy, the Playboys of Edinburg, the Sweet Smoke, and Lavender Hill Express.
By the time of their album’s release in 1972, with eight originals by the band, the lineup was:
Phil Bepko – vocals Frank Coy – vocals Galen Niles – lead guitar Howard Gloor – lead guitar and steel guitar Chet Himes – bass Gene Coleman – drums
Frank Coy, Galen Niles and Chet Himes seemed to be in all incarnations of the group. I’ve also seen Rob Randolph and Van Wilks named as members. Robin Overall was a member for a few weeks, but wound up forming Heironymous with Gene Coleman and Phil Bepko, ending Homer’s run.
Chet Himes went into audio engineering, he passed away in August 2020.
Some info from mikesbandarchive.com (now defunct).
Buddy Carson and Ricky Wright pressured to cut hair, October, 1966
The Outcasts were one of the top bands in San Antonio, and Texas in general. They cut several fine singles, including two absolute classics, “I’m in Pittsburgh (and It’s Raining)” and “1523 Blair”.
Two members of the band have sites about the group, which I’ve included below. I have found some interesting news clippings to add to their story.
The Outcasts were children of Air Force servicemen. By late 1964 they had become a quintet with:
Jim Carsten – guitar, vocals Buddy Carson – keyboards, harmonica, vocals Denny Turner – lead guitar Jim Ryan – bass Ricky Wright – drums
In June of 1965 they made their first record, “Nothing Ever Comes Easy” / “Oriental Express” recorded at Texas Sound in San Antonio, produced and written by Mike Post, released as Outcast 6865.
The Outcasts with Baby Cakes and the Greenmen, Austin Daily Texan, July 9, 1965Maj. John Carson was Buddy’s father and early manager of the group. San Antonio Express and News, April 2, 1966
In 1966 they had three singles on Askel. Jim Carsten was their main song-writer. Jim wrote both sides of their first Askel single, “I’m in Pittsburgh (and it’s Raining)” and “The Price of Victory”. It was their best-selling record, reportedly getting airplay on various stations around the country.
Jim Carsten wrote the top side of their next single, “Everyday”, while Carsten and Denny Turner wrote “I’ll Set You Free”, both fine original songs. Askel reissued “Everyday” with a great version of “Route 66”. One 45 label I’ve seen has “Buddy is singing” written on the “Route 66” side.
All of their Askel 45s had Ron Newdoll producing, at Accurate Sound Inc in San Angelo, publishing by Sangelo Music BMI.
During two summers when Jim Ryan returned to Oslo, Norway, where his father was stationed, he had two fill-ins, John (surname?) in 1965, and Kurt Linhoff in 1966.
Outcasts at The Casket in Kerrville, Sept. 14, 1967, from the Daily Times
Denny Turner left the band in late 1966, and the Outcasts found Galen Niles of the Pandas, to replace him. Jim Ryan wrote “[Galen] switched to a vintage Les Paul in late ’66 and recorded with us on our last single.”
“1523 Blair” / “Smokestack Lightning” came out in January 1967 on Gallant GT-101. Jim Ryan and Buddy Carson wrote “1523 Blair”, produced by H & H Productions at 243 Southill St in San Antonio. For certain, the song has incredible energy, with the vocalist (Buddy?) practically spitting out the lyrics.
1523 Blair was the address for Doyle Jones’ studio in Houston, where the band did some other recordings that were not released at the time.
Outcasts “a smashing success at California’s Hi-Ho Clubs” (did the group actually play in California?) and the Chaynes at the Olmos Club, San Antonio Express Nov. 5, 1966Outcasts now called the Proof, at New Orleans, October 20, 1967, from the Daily TexanOutcasts now called the Proof, at The Casket in Kerrville, November 3, 1967, from the Daily Times
In October 1967 at the New Orleans club in Austin, and then in November at The Casket in Kerrville, ads bill the group as “The Proof” (formerly the Outcasts).
One member wrote: “sadly, the group dissolved in a psychedelic haze in 1968”.
Jim Ryan would play with the Swiss Movement, then move to Los Angeles in 1969 for a couple of years.
The Outcasts story is told in some detail on various members sites, that are remarkably still active as of 2021. The photos unfortunately are mostly very small in size.
Denny Turner’s site has several pages on the Outcasts, try this one and this one.
Jim Ryan’s band page also has info on the Outcasts.
Mike Lowell’s site mikesbandarchive.com has been out of commission for about eight years now but is still partially available on the Internet Archive.
If anyone has better quality photos of the Outcasts, or more info on the members & group, please contact me.
Galen Niles Pandas San Antonio Light, Oct 16, 1966
The Centurys featured in the Light, April 18, 1964 The Centurys featured in the San Antonio Light in November, 1965
The Pandas started out as the Centurys, formed at Alamo Heighs High School in San Antonio in 1963.
On April 18, 1964, the San Antonio Light profiled the band with the headline Teen Musicians with Haircuts, noting they had $3,000 invested in equipment, and listing the lineup as:
Wink Kelso – vocals Pat Wellberg – lead guitar Bill Bellamy III – bass guitar Tony Volz – rhythm guitar Jimmy Taylor – drums
A May 13, 1965 notice in the San Antonio Light lists the same five members.
The San Antonio Express and News reported on June 27, 1965 about the band’s summer engagement outside Chicago, Illinois:
Half-way through a 10-week contract in Mt. Prospect, Ill, – a suburb of Chicago – are Jim Taylor and Pat Wellberg, who spent last winter studying at Alamo Heights High School, and Bill Bellamy, Tony Volz, Wink Kelso and Chip Stokes, all veterans of one year at Trinity University.
Members of the “Centurys,” a dance band … the boys were hired by Club Living, an apartment complex for young people in their twenties. During the week the boys are being kept busy cleaning swimming pools, mowing lawns, chauffeuring air line stewardesses to and from airports, and generally odd jobbing. But on Saturday nights they really “go to town.” …
Chip is their manager.
“This is going to be quite a deal,” the boys reported happily as they prepared to drive North. “As a band we draw an extra $300 every Saturday night!”
A November 18, 1965 article shows a change in drummers:
Wink Kelso – vocals Pat Wellberg – lead guitar Bill Bellamy, Jr. – bass guitar Tony Volz – rhythm guitar Eddie Phlager – drums (I’ve also seen his name spelled Eddie Pladger, or perhaps Phleger)
The Centurys opened for the Kingsmen at the Granada Ballroom. Unfortunately an extensive history of the Centurys early days by Bill Bellamy is now gone from the internet and not availabe on the Internet Archive. If anyone has archived all of mikesbandarchive.com, please contact me.
In late 1964 or 1965, the Centurys released a single on Mark, “Whole Lot of Shakin’ Going On” backed with a hot version of the Ventures’ “Gandy Dancer”.
Part of a feature on the Pandas in the San Antonio Express And News Sept 10, 1966
The San Antonio Express and News of September 10, 1966, featured the Pandas and reviewed their history.
In March of 1966, “Mrs. Mel Adcock, who owns and manages Swingtime Productions and manages many top bands, auditioned the Centurys as house band for a new television program called “Panda-Monium,” to be shown in the Houston area.”
To fit with the TV program, the Centurys changed their name to the Pandas and in May cut a great single on Swingtime SW-1001/2 “Walk”, an original by Will Bellamy and Wink Kelso. The flip was a cover of the Beach Boys’ “Girl From New York City”.
By September, 1966, Galen Niles had replaced Bill Bellamy. Galen had been in the Minuets. On the great but defunct mikesbandarchive.com site, the Minuets were described as having the longest hair in San Antonio in 1965. Members included David Frazier on vocals; Larry Murphy, rhythm guitar & vocals; Galen Niles on lead guitar; and Charlie Shoenfeld on bass and keyboards. Jim Ryan wrote: “Galen was playing a great Chet Atkins Country Gentleman and tuned before every set by just listening to open strings. They opened a show for us in Austin and almost stole the show.”
The Pandas were now a quartet:
Wink Kelso – vocals Pat Wellberg – guitar Galen Niles – guitar Jimmy Taylor – drums
The article continues:
Pandas Currently Among City’s Best
Last May, the Pandas released their first single under the Swingtime label, “Walk” and “Girl from New York City.”
A hit locally, a movie of the Pandas introducing the new tunes was shown in Houston and Dallas. The record really hit big in Florida and the lads were immediately offered guest appearances in Jacksonville, Daytona Beach and Miami – offers they couldn’t accept because of school.
Wink Kelso, vocalist is a sophomore at Trinity University … He plays guitar, drums and the organ and has taken formal singing lessons.
Pet Wellberg, who plays the lead guitar and 12-string with the Pandas, was voted “Most Talented” in his senior class last year at Alamo Heights.
Jimmy Taylor, a Trinity University sophomore … plays drums with the Pandas and can swing his ax to any tune and make it come out great.
Galen Niles, a Trinity University freshman … has two hobbies – playing the guitar and teaching the guitar.
Galen formerly played with the Pipelines and the Minuets, both popular local bands. His favorite nationally known band is the Yardbirds, a name he speaks with awe.
The September 17 article has a follow-up and different photo of the Panda, but I don’t have access to that image.
On October 15, 1966, the Express and News noted that Alamo Heights High School won a show by “Wink and the Pandas” on October 22.
In October 1967, Wink Kelso & the Kaleidoscopes appeared at the Casket in Kerrville.
On January 19, 1969, the Express and News had a long profile on Wink Kelso noting how he was singing the role of Paquillo in Offenbach’s La Perichole and also fronting the Kaleidoscope during his senior year at Trinity. Members of the Kaleidoscope at this point include Mike Lasley, Peyton Starr, Pat Mellberg, Scottie Melton, George Holcomb and Dave Sequin.
Wink says, “We’ve stumbled onto a new thing … using a guitar as a percussion instrument. It gives rhythm and blues a great drive.
On August 31, 1969, the Express and News ran a photo of Wink Kelso and the Kaleidoscope, noting they had returned from a summer tour in Los Angeles, Las Vegas, Venture, Orange Grove, Long Beach and Tacoma. It lists the current members as Pat Wellberg on lead guitar, Mike Lasley on bass guitar and backing vocals, Steve Smith on drums and percussion, and Tito Morena and Dave Sequin on saxophones.
A 1973 article discusses Wink Kelso’s role in a rock adaption of Lewis Carroll, called Alice and Wonderland, and that just prior he had been in another group, Giant Smiling Dog.
Will Bellamy would play bass in Rachel’s Children.
More info or photos of the Centurys or Pandas would be appreciated.
The Rel Yea’s on stage live at the Arcadia Theatre, in Kerrville, April 17, 1964The Rel-Yea’s came from San Antonio, Texas. Members included:
Jimmie Bolado – guitar Zeke Green – guitar Jim Bisset – bass, sax Mickey Drumm – drums (also Eddie Guererro – drums)
Jim Frizzell also was a member on guitar and keyboards before he joined the Chayns.
The Rel-Yea’s were young kids when they recorded their first two 45s on Wildcat Records in 1960.
Their second Wildcat single credits the band as “The Relyea’s From ‘The Ricci Ware Show’. Ricci Ware was a popular San Antonio DJ. Johnny Ware played sax with the group at times, I’m not sure if he was related to Ricci Ware. “Round Rock Boogie” includes someone named Ware as co-composer, but the Library of Congress registration only lists Zeke Green.
Beginning in 1963 the Rel-Yea’s released three singles on Kaye Records, which seems to have been their own label, located at 327 Shropshire Drive in San Antonio. The first of these is a fast instrumental by the band, “The Rugged Rock” b/w a version of “Good, Good Lovin'”.
“You Know How” is the second of their Kaye Records singles. Jim Bissett and Jimmie Bolado sang lead vocals.
I found a notice for the Rel-Yea’s playing at the Arcadia Theatre in Kerrville on April 17, 1964. Bruce Hathaway, DJ at KTSA in San Antonio is also on the notice. The Arcardia was the primary movie theater in Kerrville, but this is the only live band notice I’ve found so far. The former Rialto Theatre hosted a number of live events in 1967.
A full discography for the Rel-Yea’s is at Rockin’ Country Style, and you can see a few photos of the group at Mean Gene’s Bull Session blog. Jimmie Bolado’s Facebook page has a number of photos of the group, including many with famous country & pop stars of the day, including George Jones and Roy Orbison.
I’d like to know more about the group. The Rel-Yea’s continued into the mid and late ’60s but the recordings stopped around 1964.
The Bourbons are something of a mystery group. I have never seen a photo of the band and don’t know most of the names of the group.
Lee Poundstone is the Lee credited with writing the songs on their only single.
Ricky Jones left a comment below saying he played keyboards with the group.
I’ve found two notices for one of the Bourbons rare live shows, at Teen Town on 3524 S. New Braunfels in San Antonio on October 21, 1966. Their single on Royal Family 45-267 dates to March, 1967 according to Teen Beat Mayhem. I suppose the 267 release number must fit into Bob Tanner’s TNT pressing plant list, as TNT Music published the songs.
At The Casket in Kerrville – same band?Both sides are classic Texas garage, “A Dark Corner” having a guitar line something like the Elevators’ “Roller Coaster” but with more menace to it.
“Of Old Approximately (A Time for a Change)” has a great sound, from the wailing harp to the buzzsaw guitar.
I found another notice for the Bourbons playing at The Casket in Kerrville, an hour’s drive north west of San Antonio in July, 1967. It’s possible this is not the same group.
If anyone has a photo of the group or knows something about the Bourbons, or the other groups on these listings: the Gothics, the Aggressors, the Catalinas, the Spidels, Mods and the Sound, please contact me.
Ricky Jones told me “the Aggressors morphed into Band Ayd after Terrell O’Neill (of the former Cave Dwellers) joined the band as lead singer.” I am hoping Ricky will provide more info and some photos of the band.
Lee Poundstone has a credit for playing bass on Rosalie Sorrels LP on Sire, Travelin’ Lady, though I don’t know if this is the same person.
The Fugitives are a San Antonio band that recorded two singles. Their first, I believe, is “Louie Go Home” backed with an original by Fugitives guitarist David Fisher, “You Know She’s a Woman”, recorded at Alamo Audio and released in the spring of 1967 on Alamo Audio 45-108. “Louie Go Home” made #28 in KTSA’s Top 30 of May 6, 1967.
An article on teens working summer jobs profiled David Fisher as a guitar & banjo teacher at Platter Palace. I don’t know who else was in the group.
The Fugitives had a second single, also from 1967, “Till The End Of The Day” / “Ferry Cross The Mersey” that I haven’t heard yet. Produced by Fisher – Alexander for release on Roun Soun Records 69/70-FK, with the address 5506 Keystone, San Antonio. There was a Roun Soun label out of Houston, but that seems like a different company.
I found an ad for the Fugitives at a “Teen’s Day Dance” at the McCreless Shopping City on May 27, 1967 with the Spidels and Laughing Kind, and also a June ’67 “rock and roll show and dance” at Turner Hall in Yoakum, about 100 miles to the east of San Antonio, with DJ Ricci Ware and a few other bands: the Laughing Kind, the Configurations, the Mad Mods and the Burbons (Bourbons).
Anyone have a photo of the group, or good scans of the Roun Soun single?
More info on the Fugitives or other local bands would be appreciated.
“Louie Go Home” reaches #28 in KTSA’s Top 30, May 6, 1967
The Spidels featured in a Teen Canteen ad including the Outcasts, the Cave Dwellers, the Ones and the Trolls
I have a poor-quality photo of the Spidels from an ad for a show at the Teen Canteen at Wonderland Shopping City in December, 1965. The band is regularly cited as being from Sam Houston High. At least one member, Kurt Linhof attended Randolph High School.
Kurt Linhof supplied some information to the now-defunct website Mikes Band Archive:
The Spidels were a great Stones cover band, from late ’64 through ’66, the original lineup was: Sammy Vilnes – vocals, percussion, Jerry Osborn – lead guitar, Jesse Samudio – rhythm guitar, Gene Coleman – drums, Terry Patton, then Kurt Linhof – bass, Terry was the best bass player I ever heard in San Antonio, but left near the end of ’65, I think to make real money with a country band. I played with them from late ’65 through ’66. We had a fan club in Seguin with about 75 high school girl members, and played LOTS of gigs there. We always came in second to the Outcasts in Battles of the Bands, but were a good band, Sammy had the look (and the lips) to do an amazingly good Jagger. Jesse got drafted in ’66, Gene was still playing, in Dallas, a few years back, but the rest of their stories are a mystery to me.
The Spidels performed frequently including at the Teen Fair of Texas at Joe Freeman Coliseum. An August 31, 1967 article notes the Spidels would be playing at the Villita Assembly Hall, and that the band were students at San Antonio College.
Gregg Cheser took over on lead vocals from Sammy Vilnas at the start of 1967, and after personnel changes, the group became the Swiss Movement, retaining Gregg Cheser and Gene Coleman on drums.
As far as I know, the Spidels never recorded.
drum heads designed by Nancy Saffold, art teacher at Sam Houston High
If you have any photos or info on these or other local Texas bands of the ’60s, please comment below or contact me.
Sam Houston High band bust with the Spidels plus the Catalinas, the Ambassadors, the Inn Crowd, the Cave Dwellers, the Aggressors, the Great Unknowns, the Traydwins, the Forget-Me-Nots, and the Trochais, April 1966
The Avantes of San Antonio formed in November 1964 at Robert G. Cole High School. Members were Chuck Klein (guitar), R.V. Brinkerhoff (lead guitar), Woody Brinkerhoff (drums, violin) and Randy Wilson (guitar and trumpet). All but Chuck Klein were sons of army officers at Ft. Sam Houston.
I don’t believe they recorded, at least under this name. For every combo that recorded a single or demo, there must have been 50 that did not.
I came across the photo by accident when looking for info on another group. There’s a half-page write-up of the band in the society pages that accompanies this photo.
It’s not certain if the label is The Invicta Way and different artists are listed at the top, or the group was The Invicta Way, and each side of the record has its own label name, or sub-artist.
“What Am I to Do” has Someone Else listed at the top. The keyboard sound is a combo organ, possibly a Gibson Kalamzoo, with distortion effect or overdriven amp (thanks to Mike’s comment below for the info).
“Things As They Should Be (Two Flowers Spreading Love)” has ‘Du Rango La Platz’ where the label name would usually go. I’m not sure what this refers to.
Dead wax reads INVICTA 45-2301/2 BRS. However, both songs were written by McRay for Kery Pub, BMI which suggests this was the work of one group. Ron Kery was producer for both sides. Released circa 1968.
As Westex points out in his comment below, Shades McRay was a San Antonio musician, who had a release on Domar DM-1111 as McRay and the Invictas: “Son-of-a-Gun” (written by Richard Dodd) b/w “Cheryl”.
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.
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
Frank Coy wrote the A-side of their first single, “Dandilion Wine”, (note spelling – not “Dandelion”) backed with a radical reworking of “I Never Cared for You”, which I would never have guessed was a Willie Nelson song if I hadn’t seen the credit on the label. It even uses “Hall of the Mountain King” in the break.
pink label with a script “Satin” and no ribbon:
