The Black Banana had two singles under different band names. The first 45 I’d heard but hadn’t connected to the second because of the different artist name until Mike Markesich pointed out the connection in his comment below. Mike kindly provided scans of the 1st single as the Black Banana.

The group was from Limestone, in upstate New York, only a little west of Olean, the home of the Tigermen. The Tigermen were active earlier, but perhaps the bands knew each other. Mike tells me the band was also based in Bradford, Pennsylvania, just south of Limestone.

Reversing the usual way of garage bands, the group formed after some of the members had finished their military service. They have a great mid-’60s sound on both their singles despite the late recording dates.

Both singles list the members on the label, for this first one the lineup is:

Fred Mascioni
Karl Langner
Dave McGee

Denny Eck would join the group on guitar by the time of the second single, but he is credited with co-writing “Listen Girl” with McGee and Mascioni.

McGee and Mascioni wrote “Please Come Back to Me” which I haven’t heard yet.

Karl Langner and Arnold White designed the cool label, and Car Hamme engineered the recording. This is an RCA custom pressing from 1969.

The second release has the Fog label but the band name is changed to Banana Music Ltd. It may date as late as 1971.

Members were:

Fred Mascioni
Karl Langner
Dave McGee
Denny Eck

Denny Eck wrote “Don’t Bother Us” and Mascioni & Eck wrote “Walkin'”.

The group is listed as “The Mack Banana Band” in the Bradford Era newspaper from August 1, 1969. From the excerpt I could find online, all the members names are listed except Denny Eck:

The new sound around, come and listen to music written & played by THE MACK BANANA Band — Fred Mascioni, Karl Langner, Dave McGee …

Besides Fog Music Inc., there are other production credits on the labels: “Langner Label”, “Rotten Crates Music Corp.” and “Black Banana”.

When Mike Markesich contacted Fred Mascioni he mentioned there were songs cut for an album that went unreleased.

Thank you to Mike for his help with this post.

Revolver made one single circa 1973, with the A-side being the Kinks-like “Roll-a-Coaster Man”, and the flip the Beatles-esque “Caught In a Day”. Both sides have harmonies and a sixties sensibility but the lead guitar especially is definitely ’70s in sound.

Ken Brophy wrote “Roll-a-Coaster Man”, and Brophy and Jim Rosler wrote “Caught In a Day”, which is the song I most like. Carl Siracuse and Revolver produced the single.

I don’t know where the band was from, but Roxan studios was located in Wilkes-Barre, Pennsylvania and owned by Mike Stahl. A small batch of the 45s was found in New Jersey.

Roxan also released singles by the Innkeepers “Bittersweet” (written adn produced by John Paris) / “Someday”, Staneless Steele (“Down at the Y” / “Never Tell a Lie” (both written by Joe Scovish), B.B.K’s Expedition ‎”Change The American Dream” / “Sole Confusion” and TNT, plus an album by Frankie & The Corvettes.

Karen and the Starliners came from Plainfield, Connecticut, but recorded at Planet Studios in Providence, Rhode Island. “I Can Count the Times” has a good garage backing, the flip “Storm in My Heart” is a more typical ballad.

Fred Richards wrote both songs, published by Planet’s in-house company Ranford Music Co., and registered with the Library of Congress in October, 1966.

This seems to be their only release. I don’t have any other band members’ names.

Evolution, a band from Reno, Nevada featuring two young women in white go-go boots and three men with ruffled shirts. The photo comes from Bob Dee and Associates who booked many groups around Reno, Lake Tahoe and California.

My friend Derek sent me this photo. Sure, they’re probably a show band covering soft pop, but the look is worth a few laughs. Maybe a couple of members were in cool groups a few years earlier who recorded some great unreleased music we haven’t heard yet. Maybe.

Andy Mark came from St. Davids, Pennsylvania, a small community close to Wayne and about 15 miles northwest of Philadelphia.

A promotional sleeve created at the time of his first single reproduces a number of news articles, programs and letters. Andy was part of a folk group referred to variously as the Suburan Three or the Suburban Four.

These St. Davids lads are: Andy Mark, 13, guitarist; Jim Schnaars, 13, second guitarist and lead vocalist; Dan Gladish 14, Irish bass player; all students at Radnor Junior High, and Bob Schnaars, 15, blue-grass banjoist, who attends Mercersburg Academy.

Another Hootenany program omits Bob Schnaars and lists Jaccy Schnaars instead of Jim. Debbie DuPont managed his bookings, and Ed Cotlar produced his first single. Ed Cotlar had worked for Cameo-Parkway and Goodway Records, and in 1968 would join Diamond.

Billboard published two mentions about this release in the April 20 and 27, 1968 issues.

Ed Cotlar is reactivating his free-lance record promotion service, E-jay Enterprises – House of Ideas. His first accounts are “Girl Watcher,” by the O’Kaysions on North State Records and “Part Time Hippie,” by Andy Mark on Hilaire Records.

The second news item is about Deborah Eldredge duPont forming Hilaire Records headquartered in St. Davids, PA. Unfortunately the item spells the A-side as “Oartime Hippie”.

Hilaire H-100 has two originals by Andy Mark, “Partime Hippie” and “Take a Good Look”. Both songs’ lyrics seem to question fads of the time.

“Partime Hippie”

Not all of us can make it (?),
So we’ll just have to fake it,
Unless we want to stand up to the world.

??
But in some peoples’ eyes,
You can’t be a man till you grow a beard.

It’s a new generation,
Of a new revelation,
It’s a turn-on, tune-in and drop out.

[music freaks out]

I know what you’re thinking
That I’m supervising (?)
But you don’t know how wrong that you are.

Not all of us can make it,
So we’ll just have to fake it,
Unless we want to stand up to the world.

“Take a Good Look”

The time has come when I must run and leave you to your games,
It’s been a year, the time is here to forget our names.

Take a good look and tell me what you see,
Take a good look and tell me what you’ll be.

You say that truth is meaningless and you live for today
I say that truth is valuable, who’s to say?

I regret I must disagree,
That in this world, one cannot be entirely free.

Take a good look and tell me what you see,
Take a good look and tell me what you’ll be.

I regret I must disagree,
That in this world, one cannot be entirely free.

Until you see my reasoning I must be sure of just one thing,
That when you change and come back home, you’ll know that I am here (?)

Take a good look and tell me what you see
Take a good look and tell me what you’ll be.

Bissel Music is listed as publisher, but I can find no copyright record for these songs.

Interestingly, the promotional packet that accompanied  the “Partime Hippie” single does not mention either song from that single or provide the lyrics.

The Philadelphia Inquirer had a full article on Andy on June 9, 1968, with a photo and the headline “‘Rich Fairy Godmother’ Aids Young Rock Star”. Unfortunately I do not currently have an online newspaper archive subscription so I can’t access the photo or full text but I did glimpse some excerpts:

“Dave Hardt on bass guitar and John Fuchs on drums. Andy and Dave were just graduated from Radnor Senior High School, while John is entering his senior year.”

Andy “picked up pointers on the instrument from his older brother. Andy cannot read music and must tape all his original songs and have a friend transcribe them. Andy and his friends have appeared on several television shows …”

There is also a mention of Andy’s music being conservative in political outlook, and that he would be studying law in the future.

A second single saw release as Andy’s Tool Box, also on Hilaire but with a different label design and numbering (527 this time).

“Well of Your Love” is a swift-moving rocker with organ and bass in the fore of the mix, backed with the piano-led ballad “Breadcrumbs” that livens up with harmonies in the chorus. This time the lyrics are concerned with relationships and unrequited love. Andy Mark wrote “Well of Your Love” and co-wrote “Breadcrumbs” with J. Peirce.

This single came with a picture sleeve that I do not have that shows Andy with photos of an unnamed drummer and bassist. If anyone has a good scan of this sleeve, please contact me.

H. Kaplan produced, with distribution by Melrose Records, and publishing by Hera BMI (though once again I find no registration with the Library of Congress).

According to an article in the Philadelphia Inquirer, in 1972, Andy Mark went into commercial jingles for radio and TV, starting several companies including Philadelphia Music Works, Broadcast Results Group, and the Canary Collection. He passed away in February, 2009 at the age of 58.

Thank you to John Pitts for research help with this article.

The Magnums had one release of R&B sounds dense with echo, both originals by Charles Collins. “One of These Days” is the uptempo side, while “Two People Against the World” is the slow ballad. Can’t tell you anything more about the band at this time.

Released as Centennial 45-1863-2, the King pressing dates it to 1964. Panhandle Pub. Co. handled the publishing, as it did for the New Mason Dixons’ single “Back Up” / “Totaled” (both by Sam Follo) on Centennial 45-1863-1. Centennial’s address was 217 Blackwell St., Bridgeport, West Virginia.

There’s also a Centennial 45-1863-3, Pee Wee & the Prophets “Let’s Work” / “Tell Me”, with the address changed to Clarksburg.

I hadn’t heard the Innocence single “Quit Buggin’ Me” on Zap Records 2331, but I bought a copy because the titles were promising and it shares a label with a favorite garage 45, the Starlites‘ “Wait For Me”.

“Quit Buggin’ Me” turns out to be a fairly hilarious song-poem type vocal over a rock backing track (with flute, why not).

Quit buggin’ me,
I don’t want to be bothered,
Can’t you see,
You’re wasting your time.

Besides the singer’s off-time interjections of “Quit buggin’ me”, I like lyrics such as “keep fishin’ round, you got the bait”! plus the chorus chanting “You’ve had your way” and “I’m off the hook”.

“Jungle of Love” is more countrified and the lyrics a bit hackneyed.

Rozella Staples and Joan Hager wrote both songs, published through Top Talent Music BMI. They registered the songs with the Library of Congress in September 1970, but from the pressing code ZAFX-6805217, I believe this was actually recorded and released in 1968.

Zap Records was part of Belle Meade Records in Nashville, also known for song-poem releases.

Sam the Sham’s entire backing band quit towards the end of 1965, supposedly over financial disagreements. David Martin, Jerry Patterson, Ray Stinnett and Paul Gibson could not keep the Pharaohs name, and Sam recruited an entirely new Pharaohs lineup.

The remaining group cut one single as the Violations on Dot 45-16866, with Sam the Sham’s producer Stan Kesler, released in April, 1966.

Paul Gibson wrote the fast-moving r&b top side, “You Sure Have Changed” and collaborated with Ray Stinnett on “The Hanging”. The drumming is especially noticeable on both sides. I’ve read that “The Hanging” is a comment on the breakup with Samudio, but the lyrics are either oblique, like “People offer many persuasions/ Some offer gold as a prize / But they lie …”, or simply hard to comprehend over the slamming drums!

Cash Box reviewed the single in early May, 1966, giving it positive B+/B reviews, but the single faded without making any charts that I’m aware of.

Paul Gibson copyrighted two other songs in 1966, “A Long, Long Way” which was the B-side to Sam the Sham’s January 1966 single “Red Hot”, and “Like You Use To” which I’m not sure if anyone recorded.

I read Paul “Butch” Gibson left the music business after this single.

Ray Stinnett formed the 1st Century and released one 445 on Capitol produced by Don Nix featuring two of his original songs, “Looking Down” / “Dancing Girl”. He would work with Booker T. Jones and in 1971 cut his own album that would wait 40 years to be released with the title A Fire Somewhere.

Info from Ian Parker’s interview with Ray Stinnett at For Folk’s Sake.

This group of Missing Links recorded on Rosco Records out of Hollywood. According to a paragraph that popped up on Wikipedia before being removed, the band’s members were Larry Duncan, Jim Stanley, Mike Swain and Danny DeLacey.

The controversy over that paragraph derives from whether the Missing Links backed Micky Dolenz for a brief time as Mickey and the One Nighters, at the instigation of Eddie Hodges. The Cool Cherry Cream site has the best summary of this crucial morsel of music history.

That site quotes Andrew Sandoval’s The Monkees: Day-By-Day, including that the Missing Links appeared at a spot called La Pitcher in Denver (anyone know more about this club?)

Regardless, the Missing Links did cut one great 45 without Micky, a cover of a recent Al Dowling song “Heartbreak Hill” b/w an original “I Cried Goodbye” on Rosco Records 418.

The correct spelling of Danny DeLacey’s name is Danny DeLacy, at least that’s how it appears in a Cash Box artist directory and a very interesting item in the April 18 issue of Cash Box that describes him as an Australian and mentions his current DeVille Records single.

That single did see release on DeVille Records DE 118, but with the artist credited as “The One” through a paste-over label. It features “All the Time” and “You Got That Love”, both by Danny DeLacy and Jonny Baron for Charlin Music and Fabulous Music (ASCAP).

I haven’t heard either side – if you have audio files please contact me!

Production by Jay Colonna; he also receives production credit on a Danny Welton ‎single “Julie” / “Stroblights” from the movie “Girl in Gold Boots” (1968), one of the worst rated flicks on IMDB, and Elroy Peace’s funk 45 on Jo-Jo, “Whirlybird” / “Mama Sho-Nuff Is Psyche” (intriguing title!)

At some point, Danny DeLacy returned to Australia. When bassist Kim Lynch left the Australian group The Loved Ones in 1967, Rob Lovett switched to bass and Danny DeLacy joined on lead guitar. Interestingly, Australian rock history site Miles Ago describes DeLacy as an American!

Elroy Peace also had a number of Australian releases, I wonder if there’s some connection.

One other intriguing side-note: Rosco Records 417, just before the Missing Links features the Nova-Tones “Walk on the Surf Side”, a song by Bill Lincoln and Mike Dood for Beaver Music. Likely this is the same Bill Lincoln who recorded with the Bushmen, the War-Babies and Euphoria! I haven’t heard the Nova-Tones single either, so if anyone has a copy please let me know.

Dennis Villanucci wrote to me about the Royals who had three singles in the mid-1960s:

This band was formed in Haverhill, Massachusetts during the mid/late 1950s. The original band members were Jim Hideriotis (drums), Rick Krikorian (guitar) Dick Gaiero (guitar) Bob Schiavoni (bass) and Joe Villanucci (keyboards).

Around 1961 or so, Dick & Bob left the band, and I (Dennis Villanucci, Joe’s brother) joined as their bass player. Rick’s twin brother (Robert) also joined shortly thereafter as a singer and also played tambourine. Later on I became their lead guitarist. The band card shown was made after Bob had left the band.

While the members of the Royals were attending college, we appeared at many fraternity houses and college concert venues (college dance mixers) on campuses throughout New England (mostly in Massachusetts, New Hampshire & Vermont locations). Typical venues were Lowell State College (MA), UNH (Durham NH), Dartmouth College, University of Vermont etc.

We had an agent by the name of Al Long. He handled about 25 bands from the New England area.

We were friends with a few of the bands shown on Al’s list … The Roadrunners (Mike Fedenyszen et. al.) and the Heard (Chuck Buzzell, Eric Mcfadden et. al.).

Another band that we were friends with (not on the list) was called Lazy Smoke. John Pollano was their leader.  My brother Joe played keyboard on “Sarah Saturday”.

A “rival” band was the Del Phi’s.

While playing a fraternity house for Lowell technological institute, we met a fraternity member who, along with his friend, had a recording studio in Framingham Massachusetts. We accepted a one year recording contract that was offered to us at no cost to us.

The band made three 45 rpm recordings at Continental Recordings Inc. (CORI) in Framingham, Massachusetts. The first recording “The Lady’s Bad” / “I’m All Alone” bears the CORI label and was made in June 1965.

The other two were under the Croydon label; “Summertime in Maine” / “Teenage Dreamer” and “Slow Down Boy” / “Summertime in Maine”.

While recording our music during that year, we were connected with Gene Kilham. Gene presented his music to us, and we agreed to record for him.

Towards the end of the 1960s we began playing regularly at local night clubs: The Cinnamon Lounge (Lowell), Three Copper Men (Lowell), The Bowery (Salisbury Beach MA) and many others.

When we appeared at the Bowery, the band had added a horn section, (Ralph Bennett – sax, Rick Hammett trumpet and Jerry Bergonzi – tenor sax). We also added a front man, Johnny C (John Colimere). We played eight (4 or 5-hour) shows a week for about 6 weeks during the summer of 1969.

The band broke up around 1970. Joe and Robert are still active in the music industry.

Q. I notice the writing credits on “Teenage Dreamer” read Leo Krikorian and Gene Kilham, and Gene is also sole writer for “Summertime in Maine”. I believe Gene owned the Croydon label. Was Leo another name for your brother?

Leo Krikorian was not related to the two Krikorian brothers that were with the Royals (Rick & Robert). It is just a coincidence that he has the same last name. Leo & Gene wrote “Teenage Dreamer” and Leo played lead guitar on the recording.

Two notices for “Summertime in Maine” appeared in Billboard, in June and August 1966.

Royals discography:

June 1965: “I’m All Alone” / “The Lady’s Bad”, both by Krikorian – Villanucci, Hyannis Music Co., released on Cori Records CR 31002.

June, 1966: “Summertime in Maine” (Gene Kilham) / “Teenage Dreamer” (Leo Krikorian and Gene Kilham), both Chriskil Music Publ. Co., ASCAP, released on Croydon ZTSP 122492/3, a Columbia custom pressing, probably from their Rockaway plant.

May, 1967: “Summertime in Maine” (Gene Kilham) / “Slow Down, Boy” (Robert Krikorian and Joe Villanucci), released on Croydon U4KM-6776/7, an RCA custom pressing probably from their Pittman, New Jersey plant.

Chriskil Music Publ. Co., ASCAP published all three songs on the Croydon singles, named for the company’s street address.

Kilham has written and produced a single by Barry Wilson & the Camelots “The Bug” / “Gonna Put You Down” Dot 45-16462, both by B. Wilson and Gene Kilham, that received notice in Billboard in September 1963.

Al Long agency booking list – any info on the bands listed here would be appreciated:

Name Groups:
The Harlem Playboys (with Randy Madison)
The King Cobras – “Maine’s No. 1 band”
The Nickel Bag of Soul (“New Hampshire’s best)
The Catharsis
The Embers
John Tropea and the Spendors (“Boston’s great band”)

Girl Groups:
The Fabulous Frauleins ‎(recorded “Practice Of Evil” / “Days Gone By” on Onyx 8601)
The Ever Lovin’s
What’s this Madness

Popular Groups:
The Given Word
The Crescendos
The Royals
The Tel-stars
The Avengers
The Blue Cloud
The Jinx
The Del Phi’s
The Roadrunners
The Deltas
Annie and the Orphans (from the Lakes region)
The Heard
Underground Conspiracy
Gray Shade of Blue

The Aquamen’s second single “Line and Track” has become a top retro DJ spin, especially in the UK’s northern soul scene. The enthusiasm of garage collectors for the single led to its inclusion in Teen Beat Mayhem with a good rating. Some consider it more of a novelty, but the beat is solid, the repetitive bass line catchy, and the rhythm guitar has a James Brown-like quality.

Although it’s been more than 50 years since its release, I was surprised to find almost no published information on the group. Last month I bought a collection of photos & promotional materials (thank you  Mike D.) which are the main sources for this article.

A promotional biography of the group from about mid-1966 has this info:

Heading THE AQUAMEN roster is Frank Church, lead guitarist and tenor singer, who does most of the musical arrangements for the group. Frank’s guitar solos always generate a hum of excitement.”

Lead singer Dave Walker, who shares the emcee spot, plays rhythm guitar and usually spices each show with a rousing banjo number…

Funnyman Tom Karnes, who consistently breaks up crows with his zany characterizations, doubles on bass, piano, and sings baritone harmony.

Mike Walch, the young “old pro” of twelve “Dennis the Menace” movies, plays piano, trumpet, guitar and other assorted noisemakers. Mike’s lyric tenor voice adds a unique quality to the group sound.

Al Breaux, the little dynamo on drums, formerly appeared with Louis Prima and Jerry Lee Lewis.

THE AQUAMEN have been together for three years and have performed in clubs throughout the country including the Holiday in Reno, Beachboy in San Diego, Carriage House in Burbank, Bahama Inn in Pasadena, Sunset Lanes in Kalamazoo, Maison Jaussaud in Bakersfield, and others. The group has appeared on ABC-TV’s “Territory Underwater” and currently can be seen in Paramount’s “Beach Ball” and “The Girl in Daddy’s Bikini.” They have recorded “RIDE A PALE HORSE” and “LITTLE GRANNY WILSON”, soon to be followed by an LP.

Personal Management:
Joseph H. Friedman

The movie credits in the biography seem to be an exaggeration or outright invention.

Beach Ball features the Supremes, the Four Seasons, the Righteous Brothers, the Hondells, the Walker Brothers and the Nashville Teens. The Girl in Daddy’s Bikini was the original title for It’s a Bikini World, which has the Animals, the Gentrys, the Castaways, the Toys, and Pat and Lolly Vegas.

I haven’t seen either movie in its entirety but I can’t find any credit for the Aquamen or their members in the full cast lists for either film. Perhaps the Aquamen’s performances didn’t make it to the final cuts. Also, I don’t see Mike Walch’s name appear in the credits of the Dennis the Menace TV series.

In March of 1965, Frank Church and David Walker registered a number of songs with the Library of Congress. These include “Aquaman (Aquamen)”, “Big Rock Codley”, “Blue Coral”, “Godzilla”, “Skindiving Man”, “Superman” and “Younger Younger” (with Frank Karnes). Frank Church has a solo composition “The Beachcomber” registered in January 1965, with publishing by Milamco Music. I suppose the group cut demos on some of these songs, I have to wonder if any recordings still exist.

I was pleasantly surprised by “Ride a Pale Horse”, the A-side of the Aquamen’s first single. “Ride a Pale Horse” is a melancholy song with baroque harmonies over a mild folk-rock backing. Record World reported “Ride a Pale Horse” reaching the top 10 in Columbus, Ohio on August 13, 1966. Rod McKuen wrote the lyrics.

The flip is a novelty number about hot-rodding “Grannie Wilson”, writing credited to the Aquamen with publishing by Water, BMI.

Released on Spring Records 333 with distribution by Atlantic. Jack Hayes Productions was based in San Francisco. Notices in all the trades date this single to May of 1966.

“Line and Track” followed in October 1966. The label notes “Line and Track” adapted and arranged by Church, Walker, Karnes and Walch, published by Hinrich Music Company, and “A Corby Production”.

The Aquamen’s version appropriates Fred Neil’s arrangement titled “Linin’ Track”, as it appears on a Les Baxter’s Balladeers single on Link Records from 1963 (with David Crosby contributing vocals). The Balladeers version also appears on the album Jack Linkletter Presents A Folk Festival that includes the Yachtsmen who would become the What’s Four (covered on this site).  Fred Neil recorded his own versions of “Linin’ Track”, first on Hootenanny – Live At The Bitter End, and then with Vince Martin on Tear Down The Walls. If there’s an earlier source for the song, I’d like to know about it.

The B-side is a version of “Tomorrow Is a Long Time”. “Line and Track” received a B+ in the October 29, 1966 issue of Cashbox. Release was on Hiback HB-109 and again in December on Hinrich Music Company H-33/H-34.

The Library of Congress shows another Aquamen registration in October 1966: “Acid Test” by Walker, Karnes, Walch and Church. I’d like to hear that song!

The group continued at least into the summer of 1967. The Reno Gazette-Journal from Reno, Nevada published two entertainment notices on the group. The first from December 24, 1966 repeated much of the info in the promotional bio. The second notice comes from July 8, 1967.

I don’t know when the group disbanded. Mike Walch is credited with percussion, vocals and piano on an ABC album by The Phoenix in 1969, I’m not sure if this is the same person. The other members seem to have disappeared from the entertainment industry.

The Warehouse IX was located at 2214 Stoner Avenue in West Los Angeles.

According to Bruno Ceriotti’s site on the Sons of Adam, the Fender IV played at the Warehouse IX regularly just before changing their name to the Sons of Adam. At least one ad for the club appeared in KRLA Beat.

The building appears to still be standing today, from the street view image below.

The Collage are a mystery to me, but their single on Subtown may be the best on the label.

John Doran wrote “Mystery Woman”, a good song with an arrangement that blends the groups’ harmonies with tasteful instrumentation.

John Phillps wrote the flip, “Closing In On Me”, with it’s opening line “As I look around and all I can see, my own shadow overshadowing me”. The band turns in an exciting performance, with some frenetic drumming. I love the song but the bright blasts of trumpet bother me after repeated listens and wish they’d left the horns off.

They were probably a real group, as neither name appears on other Subtown releases.

Released on Subtown ST-101/2, with publishing by Echo, BMI but I can find no trace in BMI’s repertoire.

The label was part of Subtown Record Sales located at 169 Bank St. in New London, Connecticut. Subtown had other good releases by the Apple Corps and Davey And The Dolphins, among others.

The Wilshire Express is an interesting release that deserves a quick look. Despite the Austin Records label name, this was one of Major Bill Smith’s labels such as Charay and Le Cam out of Fort Worth, TX, almost 200 miles from Austin.

The Wilshire Express version of “Lose Your Money” is actually identical to the Ron-Dels hit on Smash, except for the lead vocals. Hard to say if it’s an alternate Delbert McClinton vocal, or merely someone imitating him. In any case the backing is identical, even the guitar solo and harmony vocals. The Wilshire Express version of “Lose Your Money” made it onto Highs in the Mid Sixties Vol. 23 without the compiler realizing it was basically the same recording as the Ron-Dels.

The Ron-Dels were from Fort Worth, the lineup on their Smash singles consisting of Delbert McClinton, Ronnie Kelly, Billy Wade Sanders, Jimmy Rogers on bass, and possibly Jerry Foster or Dahrel Norris on drums.

“Lose Your Money” was written by Mike Pinder and Denny Laine and was in fact the Moody Blues’ first UK single. “Lose Your Money” would get more exposure as the B-side to the US release of “Go Now”, where the Ron-Dels took their version.

The Wilshire Express B-side “Carla” is an easy listening instrumental and obviously from a completely different source. Both sides list “A Maridene Production”, and “Carla” has Freddy Crane on piano.

I’ve seen a September 1966 release date for the Wilshire Express single. The runout has “Maridene” “M 107” suggesting it was intended for Maridene Records, another Bill Smith label. If so it would have fit between Gene Summers remake of his earlier hit “Big Blue Diamonds” and Zuma’s “Hot Pants”, and the proper release date should be 1970 or 1971.

To make matters more confusing, on youtube I find a Wilshire Express single with the same release number, Austin Records A-322 with a version of Bruce Channel’s “Hey! Baby”: another Texas artist with a hit on Smash produced by Bill Smith. This time it’s a new recording actually done by the Carolina Tikis, a group who had recorded as Sunny & the Carolina Tikis for Charay (Sunny Threatt).

This 45 by Debbie Williams & the Unwritten Law is the best thing I’ve come across in a long while. Both sides feature Debbie’s gravely, country-inflected voice with excellent backing by the Unwritten Law.

Released on Highland 1184 in November 1967, Debbie was a young teen when she recorded this single. An article from the Long Beach Independent on September 19, 1967 gives her age as 13, and that she had been making demos since she was 6. She had skated in Ice Follies and Holiday on Ice with her parents and brother Robbie since she was 2.

Another news feature on Debbie from the Santa Cruz Sentinel from February 29, 1968 mentioned her current base in Napa County, and her previous skating in Chicago.

The A-side is “Love Seems So Hard to Find”, with the wild lyric “Today, today he shut me down, because I was trippin’ hard”.

The country feeling is even stronger on “Ask Me”. Highland Records released Debbie’s single as release # 1184. A rare picture sleeve with photos by Fred Endo is viewable on 45cat. Milt Rogers produced, with distribution by by Malynn Enterprises, Inc.

Publishing by Tiltal Music – J. Williams BMI. Tiltal has a number of other noteworthy copyrights, including the Phonetics “What Good (Am I Without You)” by Willie Hutchison on Trudel, and a few on Kerwood Records such as Jessie Hill’s “I’m Tellin’ You People” / “If I Am Lucky”, the Tormentors “Didn’t It Rain”, and Lonnie Russ “Say Girl” by Gerald Russ and Harold Williams.

The Unwritten Law

Jim Farrelly and Ken McCutcheon wrote both songs on the Debbie Williams single. Both were members of the Unwritten Law, a group from Burlingame whose lineup included at times:

Jerry Ellsworth
Jim Farrelly
Marty Eyestone (or Marty Gyestone according to one mention online)
Ken McCutcheon
Pat Patterson
Greg Raneri
Dan Ransford – drums

The Unwritten Law had their own single in 1967, “Actions Speak Louder” by Marty Eyestone b/w “This Whole World Is Blind” by Ken McCutcheon. This saw release on Strata Records, which I had thought was an East Coast label based on singles by the Deadbeats, the First Four and the Persianettes. Jerry Katz also produced the Deadbeats “No Second Chance” / “Why Did You”. How the Unwritten Law single came to be on Strata is a mystery to me.

Rob Farrelly helpfully clipped both of the articles on Debbie from online news sources, which helped me find them.

The Rimfires had one great single, featuring the rocking vocal “Bandstand Step” backed with “Un-Gowa”.

Members probably included:

Robert Wantuch – drums
Theodore Michael Broskey
Ted Niemann

Ted Broskey is credited with writing “Un-Gowa” on the label, but BMI’s database for Cedarlane publishing also has Bob Wantuch listed as writer.  BMI shows “Bandstand Step” written by all three members.

Released on Sounds of the Rimfires, the code R3KM-9159/60 indicates the 1964 date. I don’t have the record but I assume there is an “I” in the deadwax to indicate RCA’s Indianapolis pressing plant.

The band came from South Bend, Indiana.

Bobby Wantuch’s LinkedIn profile shows he drummed with the Rivieras, Clark Terry, Thad Jones and others besides the Rimfires. In more recent years he is listed as Team Leader at Musicians Friend.

A notice in the South Bend Tribune from May 1, 1964 advertises a “Teenage Rock n Roll Dance” with music by the Rimfires.

A January 1966 article in the same paper lists local bands: the Rimfires, Ravens, Teen- Tones, Trade Winds, Fugitives and Soul Seekers.

The Tradewinds cut “Oop Oop a Doo” / “Floatin'” on Destination 620 in March, 1966.

There was a Fugitives band from Bloomington that released “Sticks and Stones” / “Lonely Weekends” on Dust 1050, but this may be a different band – Fugitives, like the Ravens, being a common band name.

That’s All Rite Mama has an article on the Teen-Tones, listing their three 45s and members: “Mike Ryan on vocal and sax, Ken Kidder on Wurlitzer Piano, Tom Hemminger on Lead, Roger Lacky on Rhythm, Lew Kimble on Drums.”

T&T stands for Tune and Talent Productions, Paul E. Hertel’s publishing and promotion company. That’s All Rite Mama mentions Paul Hertel also managed the Rimfires and that the band became the Music Project.

I could use quality scans of the Rimfires 45 labels.

The Aggregation cut two fine originals, “Candlestickstomp” and “You Lied to Me” for the Dynamic Sound label of Long Island, NY.

As you can see, my copy did not arrive in very good condition. It was shipped media mail in a bubble mailer with a few torn pieces of cardboard. Regardless, I will post about the band because there’s very little information on them out there.

The band included Russell Javors on guitar and Ken Rosenberg. The label also lists “Jim” and “Bob”, one of whom had the surname Wenmouth.

Ken Rosenberg wrote “Candlestickstomp”. Russ Javors, Ken Rosenberg and Wenmouth collaborated on “You Lied to Me”.

The Aggregation may have been based in Hicksville, Long Island. Russ Javors later played guitar in Billy Joel’s band for many years.

The Aggregation’s single was released on Dynamic Sound DY-105, probably in 1965. The “WElls 8-7108” phone number on the labels indicates Dynamic Sound was based in Plainview, Jericho or Hicksville, NY.

I’ve heard an acetate demo by the 5 of Us, “One of a Kind” / “But He Promised” that has the Wells exchange on the Dynamic Sound label. This is the only record I’ve seen that I can definitely connect to the Aggregation’s label.

There was a Dynamic Sound label that released singles such as James Ray’s”I’ve Got My Mind Set On You”. Those usually have a “Hutch Davie” production logo and date to a few years earlier.

I doubt there’s any connection with the Dynamic Sound label of Milwaukee, WI.

There are at least two releases from Ohio that feature a Dynamic Sound label. The Born Mean cut “Shape Of Things” / “Don’t Let the Sun Catch You Crying” in 1966. The band may have been from New York but the release on Dynamic Sound 1068 was a Rite pressing from Cincinnati. Then in 1969 comes the Crystal Rain ‎with “You & Me” / “World On Fire” on Dynamic Sound 91101.

My broken copy of the Aggregation was shipped from Ohio so I wonder if there could be some connection?

The 1967 Levi Strauss & Co. Salesman’s Record is well-known for its tracks by the Jefferson Airplane, Sopwith Camel and West Coast Natural Gas. That was a 10″ LP. Levi Strauss & Co. was based in San Francisco so it made sense to use local bands for their ads.

In 1968 Levi Strauss released a 7″ Salesman’s record with five short songs, this time without any artist credits that I know of. It was released with an art sleeve of a pattern of horses & cowboys arranged in rings. I don’t know what was on the back of the sleeve as I do not own it.

The 1968 record has some good music, but the songs and ad concept are more generic in style than the 1967 record. Two of the songs sound to me like they were recorded by an actual rock band, not studio musicians. Each music track seems to have been recorded separately from the vocals, as each commercial is followed by 20 seconds or so of music tracks without the vocals, unfortunately at a lower level. Here excerpts from each side below.

Side 1 excerpts
Side 2 excerpts

I’d be interested to know who played on this record. There could be some local artist connections as on the 1967 record. If you have any information or even an educated guess please comment or contact me. Also please contact if you have a good scan of the sleeve.

Dexter and the Derbies came from Athens, Alabama, a small city about 95 miles north of Birmingham, and 99 miles south of Nashville, TN.

The Limestone Democrat newspaper featured this photo of Dexter and the Derbies on the front page of the January 23, 1968 issue. The band was part of the International Rodeo Association convention in Nashville. The members were:

Dexter Greenhaw – bass
Dennis Brooks – drums
Denny Ausley – guitar
Mark Gamble – guitar

Dexter and the Derbies cut only one single, released in August 1967 according to Teen Beat Mayhem. The band members would have been about 12 years old when recording the songs.

The top side is the intense “Time”, written by J. Greenhaw who seems to be Dexter’s brother Johnny Greenhaw. I can’t make out all the lyrics but one verse goes “Everybody wants to be loved and romanced, but nobody, I mean nobody will give a second chance”.

The girls wear pants now and also shirts,
Pretty soon the boys will be wearing skirts.
Now don’t tell me that they wouldn’t dare,
If you don’t think they would take a look at their hair.

Now you don’t touch when you dance these days,
In fact your partner moves far away.
How can you hold anybody tight,
When they twist and turn right out of your sight.

You ask your neighbor if that’s his girl,
She looks so pretty with her long blonde curls.
That’s when you feel when like you ought to run,
When he says “that’s not my daughter, it’s my teenage son!”

Now don’t tell me that they wouldn’t dare,
If you don’t think they would take a look at their hair.

Buck Peddy wrote songs with Mel Tillis among others. He seems to have produced this single, and his Peddy Music published both songs. Released on Derby Records 1313 out of Nashville, Tennessee, the labels show Sound of Nashville master numbers SoN 48941/2.

Dexter Greenhaw graduated high school in 1973, then studied music at the University of North Alabama. He directed the band at Clements High School, and also had a band called Denim. Dexter passed away in March, 2007 of ALS at the young age of 52.

Source: info on Dexter Greenhaw from a News Courier article in March, 2007.

“Why” / “Baby Get Your Head Screwed On” was the first single by the Harrisburg, Pennsylvania group the Legends, who are best known for their devastating 1969 psych single “High Towers” / “Fever Games”. Their story is told elsewhere in some detail, but there is little about this release on the internet.

The A-side is an original by Dan Hartman, “Why”, featuring a soulful vocal over a backing dominated by the organ.

The Legends probably found “Baby Get Your Head Screwed On” from the version by the Double Feature, a British duo from Birmingham, Bill Hall and Brian Lake. Double Feature had two singles on Deram, both of which saw release in the US. It’s also possible the Legends heard the song on its composer Cat Stevens’ first album, Matthew and Son which also had a US release in 1967.

John Ulrich produced the single, and published “Why” through John Ulrich Music. Gene Eichelberger engineered the single, released on Up Records 2202-7-13. The single is styrene, with X-5291/2 etched in the deadwax.

I’ve read there was a limited picture sleeve for this single, but have never seen it so that may only be a rumor. If anyone has a good scan of it, please contact me.

Up Records was part of Bridge Society Records which had some other fine releases including:

The Shan-Dells ‎”Chimes” / “Little Girl” and their soul classic ” I’ve Got To Love Her” / “Idle Excursion”
The Evil “I” – “Love Conquers All” / “Can’t Live Without You”
The Legends second single, “Keep On Running” / “Cheating”

The Roaches came from Springfield, Virginia in Fairfax County. The band’s members were:

Leon Norton, Jr. – vocals
Tony Taylor – vocals
Craig Mossman – lead guitar
Johnny Holiday – rhythm guitar
Tom Kelly – bass guitar
Perry Holiday – drums

The Roaches made one single in 1964 with the fine vocal “Someone With a Heart” backed with an instrumental, “Night Life”.

Oru Braymer is on the label as writing “Someone With a Heart”, but he was not a band member. The picture sleeve for the single has the credit “Produced by Braymer Music”. The Library of Congress shows an April, 1964 copyright registration for “Someone With a Heart” by Orville S. Braymer. From what I could find, he lived in Alexandria and was a piano technician, born 1928 and died 1993.

Released on Springfield Records RI 1664, the RI indicates this was pressed by Recordings Incoporated in Baltimore. George Graves took the photo on the picture sleeve.

In 1965, photographer Charles E. Parry documented the Roaches and other groups at an American Legion hall somewhere in the Washington DC area. From the notations on the 3.5″ x 3.5″ color prints, there were 28 photos of the Roaches in his files, but I am missing six of them.

American Legion and Pi Alpha Gamma banners appear behind the group. Photos of the Londoners and Beau Havens also have the Pi Alpha Gamma banner, so those bands may have shared the billing that night.

One photo from possibly a different show has a Sigma Tau Delta honor society banner behind drummer Perry Holiday, along with the American Legion banner.

The order of the photos suggests WPGC DJ “Tiger” Bob Raleigh (real name Paul Carmen) was at this show. Two other photos show WEAM DJ Terry Knight at the American Legion, possibly at this show. However, I don’t believe this is the Michigan DJ and singer Terry Knight. For one thing, it doesn’t look like him. For another, WROV DJ Jack Fisher wrote about how he was asked to call himself Terry Knight when he was at WEAM. Like WPGC, WEAM seems to have had house DJ names that could be impersonated by any jockey.

Several other DJs from WPGC and Arlington’s WEAM appear in photos with bands from other evenings.

I would like to post other photos from this collection of Charles Parry but have not yet been able to locate him or his family.

If anyone knows the location of this American Legion hall, I would appreciate the information.