The 45 was this Fort Worth ouffit's sole stab for stardom. The 'A' side, Never Again is a folk-punk anthem.
NB: (1) With Tommy Gardner.
Previously known as The Impressions and The Temptations, they were one of Maryville's Tucson sixties outfits. Hey You was a cover of The Guilloteens track. Prior to this band Maryville was with The Showmen and when they spit he joined The Poppies, but they did not record. His final outfit was Whatever's Left. The band also recorded a 1966 acetate: Let Me Explain / I Lied Need Me Like I Need You which together with an unreleased 1966 track Let Me Explain, has recently resurfaced on Bacchus Archives' The Tucson Sound 1960-1968 (LP).
Pronounced "The Five Pound Grin", this short-lived San Diego band also went by the name The Survivors, and recorded a demo at White Whale Studios in Santa Ana in 1968. One of the tracks they laid down, Never Hurt Again resurfaced on Brain Shadows, Vol. 2 (LP & CD). At least five songs were recorded at this session, which were cut to acetate and shopped to local Los Angeles record labels.
While Never Hurt Again may be the best of the surviving cuts, it is only marginally so. The Five # Grin boasted finely-crafted layered vocals that bear more than a passing resemblance to Moby Grape, as well as Doran's jaw-dropping guitar leads. In retrospect, it seems quite astonishing that they weren't picked up by a major label on the strength of this recording, despite its lack of polish.
Four tracks from this demo were re-worked a few weeks later by the same line-up, and this time they were issued as two singles credited to Pale Fire. By 1970, the band included Kathy "K.T." Taylor on vocals and were known as Pride and Joy.
Dave Doran had previously led several line-ups of the popular San Diego band The Voxmen. Willie Kellogg was a member of Joel Scott Hill's bands, as well as The Time Machine. Lawson was later a member of The Docker Hill Boys, who recorded an album for Columbia Records in 1973 which remains unissued.
From Dayton, Ohio in the late sixties and eady seventies Sonny Flaharty released several 45s on local labels in the era. He started out playing rockabilly and ended up a middle of the road ballad singer. His groups included The Sonny Flaharty Application, the Young Americans and the Grey Imprint as well as the Mark V. The 45 which was originally issued on a local label credited The Grey Imprint as his backing band but when it was picked up for nationwide release by Philips the Mark V was credited, so maybe the backing band changed its name. Hey Conductor which was written by Sonny Flaharty, also showcases his vocal talents and features some good organ work. You can also find it on The Essential Pebbles Collection, Vol. 2 (Dble CD) and Pebbles, Vol. 14 (LP).
Some of his other 45s are listed below:-
NB: (4) is said to be a very strange 45, with MOR vocal, psych guitars and lyrics.
(Max Waller/Marty Childress)
Rare first 10" album by this well - known San Francisco rock and roll group, Sneakers is more of a psych - pop/blues effort and due to its great tracks (like Golden Clouds) and its rarity, it should be included in this book.
NB: (1) catalogue number may be erroneous.
Musically, this solo project by Blues Project member Tommy Flanders is similar to Tim Buckley's early albums. It's best tracks The Moonstone, Blue Water Blue, Boston Girls, and Sleepin', are melancholic folk with excellent vocals and jazz / West Coast influences.
(Stephane Rebeschini/Ed Worcester)
NB: Line-up 'A': Flash and The Casuals. 'B': Flash and The Board Of Directors.
NB: (1) - (3) as Flash and The Casuals. (4) - (6) as Flash and The Board Of Directors.
A Memphis group playing wild rock with loud guitars and lots of crash cymbal. Mike Stoker had been in (Tommy Burk and) The Counts and Mark Tidwell was from Joe Frank and The Knights. Uptight Tonight was written by Jim Dickinson (Jesters, Avengers) and has been compiled on It Came From Memphis (Upstart 022) 1995 and A History Of Garage & Frat Bands In Memphis (CD).
As Flash and The Board Of Directors, David Fleishman would later record some regional white soul/pop hits under the guidance of Chips Moman.
You can read their full story in Ron Hall's book on the Memphis scene (1960-1975) - 'Playing For A Piece Of The Door' (Shangri-La Projects, ISBN 0-9668575-1-8) 2001.
(Stephane Rebeschini/Barry Margolis/Max Waller)
NB: (1) reissued on CD together with The Lost Kids Space Kids on Arf! Arf! (AA 042-2). The latter being a sci-fi audio fairy tale with incidental music. Also earlier reissued as a separate CD and on vinyl (Psycho 17) 1983..
From Lynn, just north of Boston, Flat Earth Society were notable for their crispy, clear vocal sound. In early 1968 they were approached by the Boston advertising firm Quinn and Johnson to make an album and a jingle for the manufacturer of the 'Waleeco' candy bar - the F. B. Washburn Candy Company. That year every 'Waleeco' bar carried a coupon advertising the Flat Earth's Society's album Waleeco for $1.50 and six 'Waleeco' bar wrappers.
Recorded at Fleetwood Recording Studio in Revere, most of the material was written by Kerivan, the only non-original being a slow melodic version of Midnight Hour. The album covers quite a wide rock spectrum with goodtime (I'm So Happy), folk (When You're There and The Prelude For Town Monk), hard rock (Four & Twenty Miles and Shadows), as well as psychedelia, but each track has the band's own style about it. Aside from Feelin' Much Better, the best tracks are arguably on the second side of the album. Dark Street Downtown has some haunting vocals superimposed upon swirling piano. Portrait In Grey is a haunting piano-oriented instrumental and Satori, a very strange psychedelic instrumental. The reissue is worth purchasing, although it's probably imprudent to fork out for the original should you come across a copy.
The band made a few appearances after making the album but broke up soon after.
In 1974, Fleetwood disposed of the remaining boxes of the album into the dumpster but luckily the mastertapes survived to be revived by Arf! Arf! who reissued the album in 1993 on CD in the original stereo mix (the vinyl originals had been mixed down to mono).
Paul Carter was active in the Boston music scene until the late '80s, Phil Dubuque later moved to England for a while but is now back in Boston, and Jack Kerivan became senior director of professional services at NEC. One member was also later in Copperfield.
Compilation appearances have so far included: Feelin' Much Better on Psychedelic Crown Jewels, Vol. 1 (Dble LP & CD), Endless Journey - Phase Two (LP) and Endless Journey - Phase I & II (Dble CD); Four and Twenty Miles on The Arf! Arf! Blitzkrieg 32 Track Sampler (Dble CD).
(Vernon Joynson / Max Waller / Lloyd Peasley)
From around the Frederick, Maryland and Washington DC area, this trio originally came together behind Billy Joe Ash, and were known collectively as Billy Joe & The Continentals. When they parted company with their front-man in mid-65 they carried on as a trio under the name The Bad Boys, releasing one classy garage-punk 45 on Paula. Their named was changed again to Flavor after gaining a contract with Columbia, but an expected LP never materialized due to the lack of chart success with their three 45s. Tim O'Brien was their producer at Columbia, not a group member, as we previously had suggested. Gary St.Clair released an eponymous solo LP on Paramount in 1972 with O'Brien as producer again. Recently the pair have also been producing and directing the group "All For One".
There was also an album by Flavor called In Good Taste (Ju-Par 6-1002) 1977, but this is probably a different outfit.
Formed in January 1970, this band played through the year but whether they recorded is debatable. Braun, DeLoach and Penrod were all ex-Iron Butterfly.